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Tunde Babalola is a Nigerian screenwriter in Nigerian cinema and British television. [1] He is most notable for writing movies such as Last Flight to Abuja, Critical Assignment, October 1 and Citation, [2] as well as the Nigerian soap-opera Tinsel and UK series The Bill and In Exile.
It stated, "2008 was the year when the comic book movie genre not only hits its zenith, but also gained critical respectability thanks to The Dark Knight. Animated films also proved a huge draw for filmgoers, with Pixar's WALL-E becoming not only the highest grossing toon but also the most lauded.
Life in Slow Motion debuted at No. 1 on the Irish Albums Chart, staying for three weeks at the top before dropping to No. 4.In the United Kingdom a week after release in Ireland, it debuted also at No. 1 on the UK Albums Chart, spending two weeks at No. 1 before dropping to #3; it spent seven weeks in the top 10 and 25 weeks in the top 75.
Slow motion is used widely in action films for dramatic effect, as well as the famous bullet-dodging effect, popularized by The Matrix. Formally, this effect is referred to as speed ramping and is a process whereby the capture frame rate of the camera changes over time.
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Other Mainframe productions directed by Kelani followed including Ayo Ni Mo Fe (1994), Koseegbe (1995) Oleku (1997), Thunderbolt: Magun, Saworoide (1999) Agogo Eewo(2002), The Campus Queen (2004), Abeni (2006)The Narrow Path (2006), Arugba (2008), Maami (2011), [19] [20] and Dazzling Mirage (2014), an adaptation of an Olayinka Egbokhare novel ...
John Woo Yu-sen SBS (Chinese: 吳 宇 森; born 22 September 1946) [1] is a Hong Kong film director known as a highly influential figure in the action film genre. [2] The recipient of various accolades, including a Hong Kong Film Award for Best Picture, Best Director, and Best Editing, as well as a Golden Horse Award, an Asia Pacific Screen Award and a Saturn Award, he is regarded as a pioneer ...
The American director Paul Schrader wrote about slow cinema in his 1972 book Transcendental Style in Film: Ozu, Bresson, Dreyer, and called it an aesthetic tool. He argues that most viewers find slow cinema boring, [24] but that a "slow film director keeps his viewer on the hook, thinking there's a reward, a payoff just around the corner." [24]
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