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White in sentence

4105 examples of White in a sentence

Growing up in L.A. during the 60's many of these old black and white films were shown on the local stations.
On first viewing this movie seems to be some kind of fairy tale about a beautiful and significantly white horse once seen never forgotten.
There was an aspect of film-noir contained in this movie and I am glad that Nolan picked to film it in black and white.
Our vigilante heroes ride to the rescue of Indians who are being murdered by hooded white hombres for no apparent reason.
From the opening sequence, filled with black and white shots reminiscent of Gordan Parks photos, this film draws the viewer into a feeling of artistic renaissance.
"Love is a Many-Splendored Thing" is set in Hong Kong in 1949-50, and tells the story of the relationship between Mark Elliott, a white American journalist, and Han Suyin, a half-Chinese half-European doctor.
This story of a mixed-race love affair was quite a daring theme for the fifties, and, as it often did, Hollywood tried to soften the blow by casting a white actress as the supposedly non-Caucasian woman who falls in love with a white man, something that would be regarded as politically incorrect today but was quite acceptable then.. (Think, for example, of the casting of Ava Gardner in "Show Boat" or Natalie Wood in "West Side Story") The setting of the story in a British colony was also perhaps a way of exploring racial issues in a way that would cause less controversy in America.
Suyin loses her job in a Hong Kong hospital because her British superiors take exception to the fact that she is dating a white man, whom she is unable to marry because his estranged wife will not grant him a divorce.
I remember it mostly because we were given time off school to watch his return (on a grainy black and white TV!) and then his knighting by the Queen.
The music is probably done by rural white boys from Colorado, but it sounds just like early 90's rap.
Well, no, there weren't big monsters and white faces appearing in dark corners and possessed dolls, but the thing that made this movie scarier than ones containing those things is that it really could happen.
Lucien N. Andoit's black and white cinematography (particularly with the banditos' shadows) was striking.
And that's not to mention the white flashes and the clipped endings to almost every spoken sentence.
The first scene I remember is a framed black and white shot of the ocean, that then opens to full screen and color.
Obviously made on the cheap to capitalize on the notorious "Mandingo," this crassly pandering hunk of blithely rancid Italian sexploitation junk really pours on the sordid stuff with a commendable lack of taste and restraint: The evil arrogant white family who own and operate a lavish slave plantation spend a majority of the screen time engaging in hanky panky both each other and their various slaves.
Director Mario Penzauti and screenwriter Tecla Romanelli cram this fetid filth with a teeming surplus of sizzling sleaze: we've got nasty rape, interracial copulation (one white lady makes wild love to a muscular black stud while he's tied to a cross), copious female nudity, brutal whippings, vile degradation, lots of lurid soft-core sex, and a severely twisted tragic surprise ending that mixes elements of incest, murder and miscegenation in a questionable attempt at making a statement about the horrid inhumanity of slavery.
Black and white photographs of old Istanbul by world famous Armenian photographer Ara Guler were exceptional.
Lucas Beauchamp may be the most prominent of all of Faulkner's black characters (he plays a major part in one of Faulkner's out-and-out masterpieces, Go Down, Moses); unlike all of the other black folks in Yoknapatawpha, he refuses to bow down to any white man.
He has pride, and many in the white population find that an execrable quality in a black man.
One day, Lucas is found standing over a dead white man with a recently-fired pistol in his possession.
This black & white gem was shot marvelously by Gabriel Figueroa,one of Luis Bunuel's favorite cameraman.Film critic Lalit Rao saw "Nazarin" at Trivandrum,India during 13th International Film Festival of Kerala 2009."Nazarin" was introduced by eminent Indian cinema personality Mr.P.K.Nair as part of a special package called "50 years ago".This is a film which should be with any discerning DVD collector.
Sitting in his house in Hampstead one day, he gave me a glass of his usual white wine from a huge barrel which he had brought from some foreign cellar.
Some of the film's mannerisms (having the actors appear in light white makeup) are more irritating than illuminating.
Moreover, we've also got rough, grainy cinematography that constantly alternates between washed-out color and grimy black and white, ineptly staged fight scenes, lousy acting from a uniformly pathetic no-name cast (Jerry Angell in particular cops the top crummy thespic dishonors for his laughably abysmal histrionics as slimy no-count psycho criminal Joe Bob), a grating head-banging thrash metal soundtrack, and a generic shivery'n'ominous synthesizer score.
She is a white woman in blackface, and can have an expression of evil or of a voodoo mistress.
Rival Schools, different styles, revenge, "white hat" good guys and "black hat" bad guys.
A group of black siblings are the center-point, with one trying to get better gigs than the average strip-club, and has a sister, much more light-skinned than him, who gets entwined with a white man in a relationship, which shatters both sides.
Nuri Bilge Ceylan's 2002 film Distant (Uzak)- his third feature film (his first was 1997's black and white The Small Town- Kasaba), is a significant step up from his good but flawed 1999 film Clouds Of May (Mayis Sikintisi).
This escalates into a strange sequence of white and black neighbours vandalising their each other's homes.
I had spent time reading reviews ... most seemed to focus on the obvious ... "skinny white girl chained to a black man's radiator" ... I hate when "critics" miss the point of a film.
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