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5 Annoying Trends That Make Every Movie Look the Same

5 Annoying Trends That Make Every Movie Look the Same
Hollywood: the dream factory, the place where joy is made and everybody craps rainbows and cocaine. But underneath the glitz is a bunch of working stiffs who are either just trying to get the job done, or hacks who get their original ideas by ripping off other hacks. That's why these days... #5. Have You Ever Noticed: There's some unwritten rule that horror movies should be blue: The Ring Saw The Nightmare on Elm Street reboot. Meanwhile, apocalyptic movies are gray and washed out: Then there are more subtle ones, for instance movies set in the desert tend to be yellow. Smokin' Aces (Las Vegas) The Hills Have Eyes (rural Nevada) Movies where reality is off-kilter will be green: Fight Club The Matrix films, aka The Greenest Movies Ever Made Honestly, half the time you can guess the genre of the film based on one still from the trailer. What's Going On? It's called digital color correction. Now? And while we're on color... #4. Or against dimly-lit rooms with the bluish tint: This is a color wheel: #3. Related:  Film (schede e scene)

Biography Kissing Sailor - Found at Last Glenn Edward McDuffie knows why the sailor kissing a white-clad nurse in that famous photo has his wrist bent back in an awkward position. Taken August 14, 1945 in New York City's Times Square moments after the crowd there heard World War II had ended, that photo has epitomized the jubilant mood of a nation who had won our hard fought victory. Glenn knows why that sailor has his wrist twisted because he is that sailor. Glenn had come to New York after coming off the SS Alexander Lillinton with Jack Holmes (from Pittsburg), the sailor in the dark uniform seen laughing in that same photo. Glenn also knows the sailor in the white uniform's name is Bob Little from Buffalo, New York since he also served on the same ship. Now ready to turn 80 this August 3rd, Glenn wants to celebrate the 62nd anniversary of his kiss of an overjoyed nurse by setting the record straight. Glenn will turn 80 this August 3, 2007.

The 10 Most Visually Stunning Movies of the Last 10 Years Now that I’m about to be disappointed by every blockbuster coming out in May, I’m looking ahead to the next project that I’m truly excited about. That would be James Cameron’s Avatar coming in December which promises to completely change the way we view movies. I’m sure the movie is going to be visually unforgettable, and I decided to take a look back at other similarly jaw dropping films of recent memory. No worries about plot here, this is purely a beauty contest. 1) Sunshine Danny Boyle’s sci-fi masterpiece had an endless parade of solar glamor shots. 2) Speed Racer Everyone may have hated it, but you can’t honestly say you’d seen anything like it before. 3) The Fall Way, way out there, but way, way too good looking to not be included here. 4) Sin City More than just black and white, Sin City created a comic bookish visual style all its own. 5) The Matrix Reloaded What? 6) What Dreams May Come Love it or hate it, there’s no denying that it’s gorgeous. 8 ) Hero 9) Transformers 10) The Fountain

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James Dean, tra cinema e fotografia Ha debuttato in rete il trailer del film con protagonista la leggenda di Gioventù bruciata. James Dean torna al cinema, con una storia incentrata sull'incontro con un fotografo, alla ricerca dello scatto perfetto per il magazine 'Life'. Il leggendario attore divenuto icona indiscussa per generazioni di giovani torna sul grande schermo grazie a un biopic incentrato sull’incontro tra un James Dean sulla soglia della notorietà planetaria e Dennis Stock – fotografo dell’agenzia Magnum all’inseguimento di una copertina sul prestigioso magazine Life. E proprio Life è il titolo dell’ultima fatica cinematografica di Anton Corbijn, acclamato regista di A Most Wanted Man, interpretato nel 2014 da un superbo – e indimenticato – Philip Seymour Hoffman. Presentato al Festival del Cinema di Berlino all’inizio del 2015, la critica abbia riconosciuto al regista Corbijn un’invidiabile conoscenza del medium fotografico.

Occupy the infinite - Synaptic Stimuli - StumbleUpon External Stimuli : Peter Kogler works Meduse, comete e piani sequenza: i significati e il finale di Birdman secondo il regista - In occasione di una retrospettiva organizzata da Landmark Theater, Alejandro González Iñárritu e il direttore della fotografia Emmanuel Lubezki hanno parlato degli aspetti più intriganti legati alla produzione di Birdman (o Le Imprevedibili Virtù dell’Ignoranza). I due, nello specifico, hanno parlato delle motivazioni dietro la decisione di optare per un piano sequenza unico (spezzato esclusivamente nel caso della cometa e delle meduse) e dell’ambiguo finale che ha diviso critica e spettatori. Vi proponiamo le loro dichiarazioni, grazie a Collider, qui di seguito. Sul piano sequenza unico: IÑÁRRITU: Ho avuto l’idea del piano sequenza non appena mi sono reso conto che il film parlava di ego. LUBEZKI: In tutta onestà, ero molto preoccupato. IÑÁRRITU: Nella vita siamo intrappolati in un continuum temporale. Sulle immagini della cometa che spezzano il piano sequenza: IÑÁRRITU: E’ stata un’idea che mi è venuta durante le riprese. Sul cinema di oggi: Sul finale:

The Fortnightly Review › Vorticism. By Ezra Pound. It is no more ridiculous that a person should receive or convey an emotion by means of an arrangement of shapes, or planes, or colours, than that they should receive or convey such emotion by an arrangement of musical notes. I SUPPOSE THIS PROPOSITION is self-evident. Whenever I say this I am greeted with a storm of “Yes, but”…s. Let me explain at leisure, and in nice, orderly, old-fashioned prose. We are all futurists to the extent of believing with Guillaume Appollonaire that “On ne peut pas porter partout avec soi le cadavre de son pere.” There is another artistic descent viâ Picasso and Kandinsky; viâ cubism and expressionism. IT IS VERY DIFFICULT to make generalities about three arts at once. Imagisme, in so far as it has been known at all, has been known chiefly as a stylistic movement, as a movement of criticism rather than of creation. There is a sort of poetry where music, sheer melody, seems as if it were just bursting into speech. I. II. III. Flenite Relief. Man.

Non essere cattivo – La fotografia di Maurizio Calvesi - BNL Presenta - We Love Cinema Di Gianni Canova Che colore ha la disperazione? Che luce illumina il destino? Se stai a Ostia, tra le baracche sulla spiaggia e le case popolari dell’estrema periferia, i giorni hanno il colore freddo di un sole pallido e smorto e le notti il nero torbido di un fondo di caffè. Così Maurizio Calvesi ha fotografato l’ultimo, intenso film di Claudio Caligari, presentato alla Mostra di Venezia come estremo omaggio al regista, scomparso lo scorso 26 maggio all’età di 67 anni. Autore di soli tre film (Amore tossico del 1983, L’odore della notte del 1998 e ora questo postumo Non essere cattivo), Caligari è uno dei “maledetti” del cinema italiano, l’ultimo autentico erede di Pasolini per la passione con cui racconta le vite perdute dei ragazzi di borgata, quelli che sbranano la vita con rabbia, e se ne fanno sbranare, fra sniffi, sballi, risse, violenze ed emarginazione. Siamo a Ostia nel 1995. Cesare e Vittorio si fanno. Vite allo sbando, vite che cercano un riscatto. (Foto: Matteo Graia)

Futurism Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of Modern Art, New York §Italian Futurism[edit] Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti.[1] Marinetti launched the movement in his Futurist Manifesto,[3] which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia, an article then reproduced in the French daily newspaper Le Figaro on Saturday 20 February 1909.[4][5] He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurist painters were slow to develop a distinctive style and subject matter. They often painted modern urban scenes.

La mostra su "Blow-Up" Dal 13 settembre fino al 30 novembre 2014 il museo di fotografia di Winterthur, in Svizzera, ospita una mostra dedicata al film Blow-up del regista Michelangelo Antonioni, uscito nel 1966 e interpretato tra gli altri da David Hemmings, Vanessa Redgrave e Jane Birkin. Il film, ispirato al racconto Le bave del diavolo dello scrittore argentino Julio Cortázar, è stato uno dei più premiati tra quelli di Antonioni (ha vinto la Palma d’Oro al Festival di Cannes nel 1967) e racconta la storia di un fotografo di moda londinese, Thomas, che crede di scoprire le prove di un omicidio ingrandendo una foto scattata per caso a due amanti in un parco.

BLAST (magazine) Blast was the short-lived literary magazine of the Vorticist movement in Britain. Two editions were published: the first on 2 July 1914 (dated 20 June 1914, but publication was delayed)[1][2] and published with uncharacteristic and shockingly bright pink cover art, referred to by Ezra Pound as the "great MAGENTA cover'd opusculus"; and the second a year later on 15 July 1915. Both editions were written primarily by Wyndham Lewis. [3] The magazine is emblematic of the modern art movement in England,[4] and recognised as a seminal text of pre-war 20th-century modernism.[5][6] The magazine originally cost 2/6. When the Italian futurist Filippo Tommaso Marinetti visited London in 1910,[7] as part of a series of well-publicised lectures aimed at galvanizing support across Europe for the new Italian avant-garde, his presentation at the Lyceum Club, in which he addressed his audience as "victims of .... traditionalism and its medieval trappings,"[8] electrified the assembled avant-garde.

Brick Flicks, il libro per ricreare i film con i Lego Mancano 7 giorni al Wired Next Fest. Scopri il programma Brick Flicks ci insegna come costruire 60 scene iconiche da King Kong a Alien passando per 2001: Odissea nello Spazio Pubblicato Brick Flicks: 60 Iconic Movie Scenes and Posters to Make From LEGO Altro che casette e aiuole fiorite, automobili e ruspe, i Lego possono essere usati anche per fare film. Nelle sue 160 pagine troviamo 60 famose scene di film rifatte con i mattoncini, da King Kong a Colazione da Tiffany passando per 2001: Odissea nello Spazio, ma anche qualche dritta per ricreare personaggi iconici come Alien (bellissimo) e Dracula. Dove lo trovo? Vuoi ricevere aggiornamenti su questo argomento? Segui

Batman Artwork « gothamtrending We’ve been seeing some fascinating superhero inspired art in the past few weeks. These are the most striking Batman images from saturdaychurch and djstorm. Not really sure what the early twentieth century arts movement was that was so industrial, but this appears to be of that style. Like this: Like Loading...