B0041VYHGW EBOK (202 page)

in
Raging Bull,
440
–441

realism in,
139
–140

stylization in,
140

typecasting in,
140
,
142
,
142

action sequences

car crashes,
6
–7

coverage in,
22

AD.
see
first assistant director

Adams, Randall,
425
,
446

Adam’s Rib,
158
,
158

additional photography,
24

ADR.
see
automated dialogue replacement

The Adventures of Prince Achmed,
383

The Adventures of Sherlock Holmes,
472

Advise and Consent,
46

aerial perspective,
152

L’Age d’or,
466

Akeelah and the Bee,
38

Akerman, Chantal,
156

Alexander,
335

Alexander Nevsky,
283

Alexandra,
278

“Alice in Cartoonland Series,”385

Alien,
197
,
335

Aliens,
79
,
146
,
150
,
151
,
337
,
337

All of Me,
140

All Quiet on the Western Front,
231

All the President’s Men,
121
,
122

Allen, Woody,
30
,
62

acting in films of,
142
,
143

Annie Hall,
479

Hannah and Her Sisters,
103
,
143
,
479

Manhattan,
479

Match Point,
35

What’s Up, Tiger Lily?,
294

Zelig,
91

Almedros, Nestor,
134

Almodóvar, Pedro,
Women on the Verge of a Nervous Breakdown,
98

Along Came Polly,
337

Altman, Robert,
33

The Long Goodbye,
479

M
^*
A
^*
S
^*
H,
478

McCabe and Mrs. Miller,
479

Nashville,
479

The Player,
17
,
335

A Prairie Home Companion,
479

Short Cuts,
479

Three Women,
479

A Wedding,
479

ambiguity

in
Breathless,
410
–411

in
Citizen Kane,
407

in
Do The Right Thing,
407

in French New Wave,
477

in
King of Comedy,
449

in
Raging Bull,
442

in
Tokyo Story,
417

Amélie,
134
,
135

American Cinema Editors (ACE),
24

American Friend,
296

American Graffiti,
276
,
478

sound track in,
276

American Movie,
351
,
351

American Pie,
334

The Americano,
460

Amistad,
315

anamorphic aspect ratio,
189

Anchors Away,
385

ancillary markets,
41
–43

Anders, Allison,
480

Anderson, P. T.
see also Magnolia

Boogie Nights,
200

Magnolia,
44
,
479

Angel Face,
47

Angelopoulos, Theo,
Ulysses’ Gaze,
202
,
202
–203

Anger, Kenneth,
Scorpio Rising,
284
,
366
–367,
367

angle in framing,
194

Animal House,
334

animals acting,
146
,
146

animated film,
32

cels in,
382
–383

clay,
383
–384

color in,
152

computer imaging’s influence on,
384
–385

cut-out,
383

drawn,
382

Duck Amuck,
386
–388,
386
–388

as experimental film,
388
–390

Fuji,
388
–390

full,
383

Industrial Light & Magic,
385

lighting in,
137
–138

limited,
383

live-action films v.,
382

mobile framing in,
201

model,
384

as musical films,
344

narrative form in,
386
–388

Pixar Animation,
385

pixillation,
384

stop-action,
139
,
139

Walt Disney Studios,
385

Warner Bros. Studios,
386
–388

animatics,
18

anime,
385

Annaud, Jean-Jacques,
The Bear,
145

Annie Hall,
479

answer print,
27

Anthony Adverse,
104
,
473

Antonioni, Michelangelo

Cronaca di un amore,
474

Il Grido,
149
,
149

L’Avventura,
102

L’Eclisse,
92

mise-en-scene of,
146
–147

Aparajito,
132
,
132

Apocalypse Now,
294

Apollo
13
,
352

apparent motion,
9

Applause,
471

Araki, Gregg,
481

Are Parents People?,
460
,
461

L’Argent,
123
,
124
,
465
,
465

The Arrival of a Train at La Ciotat,
186
,
187
,
456

L’Arroseur arrosé,
121
,
121
,
456

art

engaging,
60

film as,
2

film distribution/exhibition and,
43
–47

film history, entertainment v.,
2
–3

film production process and,
27
–28

film production’s different modes and,
32
–33

art director,
18

Ashes and Diamonds,
154

aspect ratio,
186

Academy ratio,
187

anamorphic,
189

for
35
mm film,
188

widescreen,
187
,
189

Asphalt Jungle,
131
,
131

Assault on Precinct
13
,
257
,
478

assistant editor,
23

associate producer,
17

associational form film

experimental films and,
375
–381

imagery in,
375
–376

Koyaanisqatsi
as,
375
–376

A Movie
as example of,
376
–381,
378
–380

patterns in,
376

Astaire, Fred,
270
,
281
–282,
472

in musical films,
343
–345

asynchronous sound,
294

Atanarjuat: The Fast Runner,
31
,
32

The Atomic Cafe,
351

attached shadows,
131

auteurs

directors as,
33

French New Wave and,
475
–477

authorship, film production and,
33

automated dialogue replacement (ADR),
26

An Autumn Afternoon,
155
,
155
,
256
–257,
257

avant-garde cinema.
see
experimental films

L’Avventura,
102

frontality in,
158

mise-en-scene in,
146
,
146
–147

axis of action,
236

continuity editing and,
236
–238,
237
–238

crossing of,
244
,
246

in
The Road Warrior,
246
,
246
–247

in
Tokyo Story,
415

Babel,
272

Baby’s Meal,
186
,
187

Back to the Future,
47
,
91
,
204
,
479

lighting in,
135
,
135
–136

narrative time in,
88

backlighting,
136

“backstage” musical,
343

The Bad and the Beautiful,
158

Badlands,
413

Baillie, Bruce,
Mass for the Dakota Sioux,
366

Bale, Christian,
299

Ballet mécanique,
256
,
366

abstract form film example of,
369
–374,
370
–374

collaboration in,
369

continuity editing in,
371

film style in,
370

motifs in,
373
–374

themes in,
370
–371

Bamboozled,
15

The Band Wagon,
344

nondiegetic elements in,
81
,
81

Banderas, Antonio,
481

Barbershop,
335
,
336

Barton Fink,
481

Baruchello, Gianfranco,
La Verifica inserta,
367

base of filmstrip,
11

Bass, Saul,
Advise and Consent,
98

Batman,
479

The Battle at Elderbush Gulch,
246
,
248
,
248

Bauer, Yevgenii,
The Dying Swan,
149
,
149
–150

Bazin, André,
121

The Bear,
145

Beattie, Stuart,
4

Beauty and the Beast,
82

Becky Sharp,
473

Beebe, Dion,
5
,
20

Beetlejuice,
479

Begone, Dull Care,
152

Being John Malkovich,
329
,
482

Belle de Jour,
467

Beloved
(Morrison, T.),
79

below-the-line costs,
17

Berge, François,
462

Berger, Christian,
15

Bergman, Ingemar,
Wild Strawberries,
168
,
168