B0041VYHGW EBOK (205 page)

establishing shot in,
238

eyeline matching in,
239
–240

graphic possible alternatives to,
256
–257

in
L.A. Confidential,
250
,
251
–253

in
The Maltese Falcon,
238
–242,
239
–242

match on action in,
240

in New Hollywood cinema,
480

nondiegetic inserts in,
259

point-of-view cutting in,
244
,
245

reestablishing shot in,
240

refinement of,
242
–244

rhythmic possible alternatives to,
256
–257

screen direction in,
237

in
She’s Gotta Have It,
243
,
244

shot/reverse shot in,
239

spatial discontinuity as alternative to,
257
–262

spatial relations in,
236
–238

temporal,
248
–249,
254

temporal discontinuity as alternative to,
257
–262

contrast,
167

screen space and color,
149
–150

conventions

from film form,
60
–61

film genres and,
60
,
330

in musical films,
343
–344

in
The Wizard of Oz,
60
–61

The Conversation,
177
,
177

sound in,
298

Coolidge, Martha,
479

Coppola, Francis Ford.
see also The Conversation; The Godfather

Apocalypse Now,
294

Bram Stoker’s Dracula,
122
,
123
,
481

The Conversation,
177
,
177

film style of,
481

The Godfather,
278
,
329
,
335
,
352
,
478

The Godfather Part III,
130

Rumble Fish,
481

speed of motion used by,
172
–173

Coppola, Sophia,
Lost in Translation,
269

Corpse Bride,
32

costume designer,
18

costumes

in
Ivan the Terrible,
125
,
127

mise-en-scene and,
125
,
128

in
Our Hospitality,
160

Cotten, Joseph,
318

Les Cousins,
475

Coutard, Raoul,
411
–412

coverage,
22

Craig, Stuart,
123

crane shots,
199

The Cranes are Flying,
174

Crash,
479

credit sequences,
98
–99

The Crime of M. Lange,
62
,
62
,
65
,
204
,
204

crime thrillers,
332
–334.
see also
film noir

Crippled Avengers,
482

critical analysis

of
Breathless,
408
–413,
409
–412

of
Chungking Express,
417
–422,
418
–422

of
Do The Right Thing,
404
–408,
407
–408

for documentary films,
422
–431

essay form for,
443
–446

of
His Girl Friday,
396
–400,
399
–400

of
King of Comedy,
447
–449

of
Man with a Movie Camera,
422
–424,
422
–425

of
Meet Me in St. Louis,
431
–438,
432
–435,
437

of
North by Northwest,
400
–404,
401
,
403
–404

organizing,
445
–446

outstanding instances noted for,
444

plot segmentation as part of,
443
–444

preparation for,
443

of
Raging Bull,
438
–442,
439
–442

thesis for,
443

of
The Thin Blue Line,
425
–431,
427
–430

of
Tokyo Story,
413
–417,
414
–417

writing,
445
–446

critical flicker fusion,
9

Cronenberg, David

Dead Ringers,
300

The Dead Zone,
479
,
480

The Fly,
130
,
131
,
479

A History of Violence,
333
,
333

Shivers,
479

crosscutting,
232

in editing,
232
,
246
,
248

in
Jerry Maguire,
248
,
249

in
M,
248

in
North by Northwest,
402

Crossing the Line,
14

cross-promotion,
38

Crouching Tiger, Hidden Dragon,
485

The Crow,
257

Crowe, Cameron,
Jerry Maguire,
141
,
141

Cruise, Tom,
4
,
141
,
141

Crumb,
351

Crumley, Arin,
Four Eyed Monsters,
32

Crush,
140

Cukor, George,
470

Adam’s Rib,
158
,
158

The Curious Case of Benjamin Button,
25
–26

Curtis, Adam,
The Power of Nightmares,
32

Curtis, Tony,
174

Curtiz, Michael,
The Charge of the Light Brigade,
153

cut-out animation,
383

cutting,
224
.
see also
editing; shock cuts

The Da Vinci Code,
40

Daffy Duck,
366
–388,
382
–383,
386
–388

dailies,
23

Daisies,
170
,
186

Dalí, Salvador,
466

Damned If You Don’t,
366

Dancer in the Dark,
15
,
22

Dash, Julie,
481

Dassin, Jules,
The Naked City,
423

David, Arvind Ethan,
46

Davies, Terence,
Distant Voices, Still Lives,
85

Davis, Bette,
134
,
135

Dawn of the Dead,
340

day for night,
171

Day for Night,
3
,
27
,
196

A Day in the Country,
196

Day Night Day Night,
97

Day of Wrath,
154
–155,
155
,
157
,
352

day-and-date releasing,
37

de Chirico, Giorgio,
466

De Mille, Cecil B.,
The Cheat,
131
,
459
–460,
460

De Niro, Robert,
139
,
440

de Noailles, Vicomte,
467

De Palma, Brian

Blow Out,
27

Bonfire of the Vanities,
200

Carrie,
342

Dressed to Kill,
478

film style of,
481

Mission: Impossible,
479

Obsession,
478

Sisters,
191
,
192

The Untouchables,
178
,
179

De Sica, Vittorio

Bicycle Thieves,
149
,
149
,
473
–474,
474

Shoe Shine,
473
–474

Umberto D,
474

Dead Man Walking,
313

Dead Men Don’t Wear Plaid,
232

Dead Ringers,
300

The Dead Zone,
479
,
480

The Death Ray,
257
,
468

Debussy, Claude,
279

Decla,
462

deep focus cinematography,
178

in
Citizen Kane,
178
,
179
,
321
,
472
–473

deep-space composition,
154
,
178

in
Citizen Kane,
322

in
Our Hospitality,
162

The Deer Hunter,
440

Delerue, Georges,
279

Demme, Jonathan

on musical score,
280

Rachel Getting Married,
293

The Silence of the Lambs,
118
,
223
,
285
,
296
,
329

depth cues,
151
–152

mise-en-scene providing,
153

movement and,
152
–153

depth of field,
177
–178

Deren, Maya

Choreography for Camera,
366

Meshes of the Afternoon,
31
,
31

Deserter,
469

Detective,
47

devotionals
genre,
328

DI.
see
digital intermediate

Diagonal-symphonie,
462

dialogue

Hawks on,
398

His Girl Friday,
rhythms in,
281

in
Meet Me in St. Louis,
436

The Prestige
and misleading,
301

sound and,
275

dialogue coach,
19

dialogue editor,
24

dialogue hook,
301

dialogue overlap,
276

in
His Girl Friday,
399
–400

in
The Hunt for Red October,
276
,
282

sound and,
276

Dickson, W.K.L.,
455
–456

camera development an,
186
,
186

Die Hard,
172
,
190

diegesis,
80

diegetic sound,
249
,
284

in
Citizen Kane,
324

external,
290

internal,
290

in
Jackie Brown,
286
–288

in
No Country for Old Men,
285

nondiegetic sound v.,
284
–285,
291
–292