Sentence examples for filmmaking practices from inspiring English sources

Attention devoted to African and Caribbean filmmaking practices.

The veteran Keaton found the filmmaking practices of Schneider and Beckett, both cinematic novices, curious, and the production of "Film" suffered from amateurish scheduling and casting mix-ups.

Not only did experimenters participate in the formation of this media-scape by producing many popular educational shorts, they also questioned the implications of amateurism for both the American experience and filmmaking practices.

Her primary research interest is African American film, both silent era cinema and more contemporary filmmaking practices, and is unified by two broad theoretical inquiries: how film and visual media shape perceptions of race and ethnicity, and how these media have been and can be mobilized to perpetuate or challenge social inequities.

She is the author of Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity (Duke University Press, 2015), which explores the emergence of Black filmmaking practices in the period prior to D. W. Griffith's The Birth of a Nation (1915) and the proliferation of race cinema that began in the late teens.

He usually avoids actors' rehearsing and prefers most scenes to be completed on the first take; Eastwood's rapid filmmaking practices have been compared to those of Woody Allen, Ingmar Bergman, Jean-Luc Godard, and the Coen brothers.

On the other hand, for younger filmmakers looking to take first steps, the practical struggle — the need to rethink filmmaking practice — is as much a part of the work as the ideas and the aesthetic skills.

The modern cinema arises through the work of filmmakers who think about production along with, and perhaps even ahead of, direction whose aesthetic ideas are, to begin with, ideas of filmmaking practice and which arise in response to (and, so, ultimately reflect) the practical conditions of their work.

There are dramas, documentaries and shorts, rare film screenings, filmmaking practice and discussion panels.

Leterrier signals a crucial difference between filmmaking practice here and there: In France, the workday is eight hours.

Pathé and Gaumont dominated pre-World War I motion-picture production, exhibition, and sales in Europe, and they effectively brought to an end the artisanal mode of filmmaking practiced by Méliès and his British contemporaries.