Translation of "Filmische mittel" in English

How can you explore monuments with the medium film?

The film director Alexander J. Seiler believes that Frisch had for the most part an "unfortunate relationship" with film, even though his literary style is often reminiscent of cinematic technique.

This is contrasted by the type of montage, a voice off narrating from a subjective perspective and in the first person, and the non-diegetic jazz soundtrack—all filmic devices that do not necessarily belong to the documentary film genre.

In Finger (1967, 4 min), simple close-ups are used to stage sensual touches and consequential associations, while in Oben / Unten (top / bottom) (1967, 4 min) Mommartz demonstrates numerous cinematic means with slow-motion shots, split screen, and camera rotations.

In her serial video loops she concentrates on very reduced cinematic resources for the depiction of a monologue-type situation which is rather self-referential.

In his second feature film Bergman further develops his specific filmic methods: the contrast between light and darkness, the introductory narration, the look into the mirror, the typical Bergman irony.

The results point to the conditions under which TV documentaries elicit contra-indexed effects and how enlightenment on past injustice can be achieved using cinematic material, without eliciting defensive reactions, and thereby make possible a constructive engagement with history.

Some film techniques were consciously used to make this video effective in our school environment and to emphasize the content.

What discursive potential and means of criticism are harbored by the medium of film?

Hardly any other filmic medium can influence the audience’s emotions like music.

The operational starting point of the entire show is the systematic analysis of the cinematic means and procedures.

Excerpts of Egyptian reports on Gaza are shown, and their film material is revealed as propaganda.

Manohla Dargis of "The New York Times" enjoyed the film, but criticised Vaughn's use of violence as a cinematic tool, calling it "narrative overkill".

Manohla Dargis of The New York Times enjoyed the film, but criticised Vaughn's use of violence as a cinematic tool, calling it "narrative overkill".

In HAMNSTAD – his first collaboration with cameraman Gunnar Fischer – he further develops his filmic techniques, shows parallel scenes on different time levels, refines his dialogues and presents a liberal approach to the problems of the underprivileged.

How do we perceive films, and how do new forms of perception evolve in the observer when film methods change?

It is especially the cinematic means though, that are lending the Neptunian contents a Saturnine form: narrative reduction and minimalism in drama as well as in the performance mirror Saturn-quality, just as the constant, ritualized repetition of phrases, situations, images shows a Virgo-tone.

The story is told in a persuasive, suspenseful style, using cinematic means such as exploring the perspectives of 11 different characters, including a Syrian doctor fleeing Aleppo, who is hired as a launderer in the bilge of the cruise boat, the Algerian helmsman of the inflatable raft and a member of the Spanish coast guard, whose family is suffering under the financial crisis.

The Lumière brothers' operators filmed this way at first, over and over again, because no other cinematic method can more effectively take the viewer so far away and also convey to him a feeling for the duration and the speed of the journey.

The cycle of emergence and disintegration prevails in his dramaturgy, in which the edit as one of the central filmic tools almost never occurs.

In "Forever over" (2014), he does indeed reassemble the same cast who were filmed over large parts of "Nashorn im Galopp". Here, however, the characters of the roles are changed, as well as the emphasis accorded to the cinematic means.