Anagram & Information om | Engelska ordet CLOSEUPS

Exempel på hur man kan använda CLOSEUPS i en mening

• In the late 1960s through the 1970s, she abandoned painting, and focused on working in graphite pencil, creating highly detailed photorealistic drawings, based on photographs of natural elements such as the ocean's or Moon's surface, the insides of shells, and closeups of rocks.
• In editing, the master can be used to a greater or lesser extent as the 'skeleton' of the edit, which is fleshed out by replacing parts of the master with tighter coverage such as closeups and cutaways.
• Yang's visual style comprehended deliberate pacing, long takes, fixed camera, few closeups, empty spaces, and cityscapes.
• In addition to footage relating to "gleaning", Gleaners also includes more self-referential footage, such as a scene in which Varda films herself combing her newly discovered gray hair, or the several closeups of her aging hands.
• This is because when making Soundies the artist first recorded an acceptable copy of the audio, then various camera takes were made using different camera angles and closeups as the performers lip-synched the lyrics and acted as though playing the instruments.
• But it is the sea of rapturous black faces, those of the visiting American artists and their Ghana audiences, that makes this movie a haunting experience … Mainly and compactly, the film sticks to the concert, brilliantly evoking the performances and crowd reactions in a flow of closeups and panoramic shots, to the stabbing, pounding pulse of the music.
• Considerably more laborious is the build-up of Ian Hendry's cameo appearance as a hired assassin; though the scene eventually pulls itself out of a slump of snarling dialogue and lowering closeups with some nicely choreographed action, disposing of the ruffians quicker than the eye can see.
• From retrospective reviews, critic Troy Howarth commented that the film was "one of the most renowned of experimental silent films" noting "The rapid cutting, fetishistic closeups and generally dreamy ambience bring the movie closer to the realm of filmic poetry than anything else".
• " The review says that Cahn "gets the required shudders from the material at hand, especially the closeups of poisoned stilettos in the necks of the victims.
• Key features of the new browser are four-point multitouch functionality, zoom-in and zoom-out using a pinching finger gesture on the screen, and what Microsoft called "deep zoom" for high fidelity closeups.
• For example, the Chicago Board of Censors required a cut, in Reel 1, of two scenes of a young woman in a one piece bathing suit playing hide-and-seek with the man, near view of young women at pool, two near views of young woman in bathing suit with apron, Reel 2, first two and last two scenes of young women in one piece bathing suits, two closeups of young woman with low cut gown at table, scene of man throwing coin in trouser front and following vulgar actions, two near views of couple in suggestive dance, and three scenes of "Madam Bevo" in suggestive dance where he wriggles tail of hula costume.
• For example, the Chicago Board of Censors cut, in Chapter 4, Reel 1, the man attacking and binding young woman on the boat, and choking scene on top of cabin; in Chapter 5, Reel 1, two views of men shooting and men falling from automobile and, Reel 2, actual cutting of handbag cord and taking handbag; in Chapter 7, Reel 2, binding man at point of gun and letting man down crater by rope; in Chapter 8, Reel 1, the intertitle "Now talk or we'll kill you", two scenes of threatening man with knife, Reel 2, two scenes of bomb throwing from airplane and shooting at automobile; in Chapter 11, Reel 1, all train holdup scenes to include scenes of passengers with hands up, shooting, man with gun, and shooting at automobile, and, Reel 2, all views of man about to be hanged from tree to include two closeups and one distant view; in Chapter 12, Reel 1, four scenes of man with rope around neck, the intertitle "We all was about to have a necktie party", and two scenes of man falling from horse; in Chapter 14, Reel 1, shooting scene in which man falls, and, in Chapter 15, Reel 2, binding of young woman, closeup of choking man.
• The Chicago Board of Censors required, in Chapter 1, an attack by an ape-man be flashed and one on a chauffeur be cut; in Chapter 2, to flash an attack on a man; in Chapter 3, cut three scenes that showed a painting of a semi-nude woman and to flash a scene where the men in the foreground have a drink; in Chapter 4, cut a scene of a man at a bar shooting another man; in Chapter 6, cut the slugging of an Indian on the head with a rifle; in Chapter 7, cut two fight scenes, three struggle scenes of girl on stairs, all closeups of man with rope around neck, seven views of pulling of rope, view of man's body swinging in air, and the shooting of an Indian; in Chapter 11, the holdup and binding of the couple and two scenes of placing dynamite on the bridge; in Chapter 12, a closeup of the choking of a man; in Chapter 15, slugging a soldier and two scenes of men falling from horse; in Chapter 16, the last two scenes of dragging the young woman, man falling over after being shot, man falling over rock, two scenes of man laying on rock after being shot, man falling after shooting, and flash all scenes of gila monster.
• For example, the Chicago Board of Censors required cuts, in Chapter 2, Reel 1, the shooting of a man in a house; in Chapter 4, Reel 2, shortened the scene of man choking a young woman and cut the closeup of her being choked; in Chapter 5, Reel 1, Arab choking young woman, shooting Arab and his falling, and, Reel 2, shooting Arab and his falling; in Chapter 6, Reel 1, two scenes of shooting black man and white man, closeup of King and soldier in knife duel on floor and scene on platform where knife descends, Reel 2, placing young woman on block and last two torture scenes were machine descends; in Chapter 7, Reel 1, closeup of strangling young woman, two close views of young woman chained to rack, two scenes of spikes descending, and, in Reel 2, closeup of knives suspended over men's heads; in Chapter 8, Reel 1, swords suspended over bound men, two scenes of attacks on natives inside house, reduce to half seven scenes of natives shooting at soldiers, Reel 2, two scenes of choking natives, all views of young woman where her figure is clearly shown through her draperies to include scene where she is shown in group in harem and five scenes of her struggling with natives, two fight scenes in which natives are beaten, and two choking scenes; in Chapter 9, Reel 1, flash scene of semi-nude young woman after she is pulled from tank, shooting man at bank, and shooting man and his falling; in Chapter 10, two closeups of binding young woman's hands and feet; in Chapter 11, Reel 1, shooting man and man falling from horse and, Reel 2, shooting man and man falling down cliff;, in Chapter 14, Reel 1, two scenes of muffling young woman, Reel 2, scene of man with spear in back, four scenes of binding man and young woman to posts and lighting fire under them, shooting native, and native with spear in back, and, in Chapter 15, Reel 1, two closeups of man's bloody face.
• One of the criticisms of the Fuji W1 is the wide interocular spacing (77 mm) which would normally make closeups such as this cake unviewable.
• Recurring and lovingly-held closeups of John Alderton dithering, Deryck Guyler smirking, and Joan Sanderson glaring prove poor substitutes for comic invention, which seems to have been lost somewhere along the school's journey from urban to rural surroundings.
• For example, the Chicago Board of Censors required cuts of the holdup and stealing of a letter, two scenes of the holdup of the officer at point of knife, binding the officer to the cabin wall, two closeups of men leering at the young woman after the intertitle "Give me a leetle kiss", and three closeups of the half-breed's face as he looks at the unconscious young woman in the cabin.
• On a re-review, the Chicago board cut, in Reel 1, the entire incident of married woman in man's room and all intertitles pertinent to same, Reel 3, the two intertitles "We've had much wine — let's have some wild women" and "I'll go and call some up on the telephone", Reel 4, husband locking door of wife's room, two closeups of man's face as he comes towards his wife, all scenes of husband advancing towards wife and wife shrinking against wall of room, the intertitle "I always thought of you as a child", all except first struggle scene of couple, Reel 5, two intertitles "Dear boy — come to me" and "I sent for you tonight", and, Reel 6, woman shooting man.
• For example, the Chicago Board of Censors cut, in Reel 1, young woman at bar drinking with men, the intertitle "His protege, the nameless waif of a departed dance hall girl", Reel 3, Mexican shooting man, Reel 4, closeup of Riley as he is about to spring at young woman as she lies on ground, two closeups of Yates choking man, Reel 5, three intertitles "There's a rope waiting for you, Riley", "They're going to lynch Riley", and "You've got two minutes to pray", last two scenes of mob taking man from jail, scene of cowboy with rope in hand, and all scenes of man with rope around neck up to where young woman rescues him.
• The Chicago Board of Censors required a cut of the shooting of a man in the barroom, the intertitle "Well, he can have you when I get through with you", and two closeups of men in a fight where Matthew bites the man's hand, Matthew is thrown against the wall, and Matthew shoots the man.

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