B0041VYHGW EBOK (204 page)

cels,
382
–383

Cenere,
170

center perspective,
153

CGI.
see
computer-generated imagery

Chabrol, Claude

Les Bonnes femmes,
476
,
477

Les Cousins,
475

Ophelia,
477

Chan, Jackie,
234
,
235
,
483

Chan Is Missing,
479

Chaplin, Charlie,
141
,
141
–142,
460

City Lights,
141
,
141
,
275

His New Job,
335

Modern Times,
275

character traits,
82
–83

The Charge of the Light Brigade,
153

Che,
14

The Cheat,
131

Rembrandt lighting in,
459
–460,
460

cheat cuts,
243
–244

Cheh, Chang,
482

Cherkasov, Nikolai,
143
,
144

chiaroscuro,
136

Chicken Run,
384
,
384

Un Chien andalou,
466
,
466

China Express,
176

A Chinese Ghost Story,
483

La Chinoise,
132
,
132
,
152
,
154
,
259
,
259

choreographer,
20

Choreography for Camera,
366

The Chronicle of Anna Magdalena,
183
,
183

Chungking Express,
60
,
334
,
396
,
445
–446,
485

critical analysis of,
417
–422,
418
–422

film genre shift in,
421

line of action in,
421

motifs in,
420
–421

narrative form in,
418
–419

plot/story of,
418

web-of-life plot in,
417

Chunhyang,
190
,
191

Chytilová, Verá,
Something Different,
79

Cimino, Michael,
The Deer Hunter,
440

Cinderella,
388

Cinderella
(1899),
457

cinéma vérité,
200
,
351

cinematography,
167
.
see
aspect ratio; composition; deep focus cinematography; lighting; long takes; mobile framing

in
Les Carabiniers,
168
,
168

in
Collateral,
5
,
5

day for night in,
171

definition of,
167

exposure manipulation in,
170
–171

framing in,
186
–212

in French New Wave,
476

high-speed,
173

perspective in,
173
–183,
186

special effects in,
179
–180

speed of motion and,
171
–173

time-lapse,
173

tonality ranges in,
167
–171

Cissé, Souleymane

Finye,
124
,
127

Yeelen,
190

Citizen Kane,
20
,
28
,
84
,
114

ambiguity in,
407

cause and effect in,
106
–107

composition in,
321
–322

deep focus cinematography in,
178
,
179
,
321
,
472
–473

deep-space composition in,
322

diegetic sound in,
324

editing in,
227

film style in,
318
–325,
320
–325

flashbacks in,
107
,
109
,
112
,
321

framing in,
196
,
196

montage sequences in,
109

motivation in,
109
–111

musical score in,
324
–325

mystery pattern in,
110

narration in,
112
–114,
322
–323

narrative expectations in,
104
–105

narrative form in,
104
–114

narrative time in,
107
–109

parallelism in,
111
,
323
–324

patterns in plot development in,
111
–112

plot segmentation for,
105
–106

plot/story in,
105

shock cuts in,
325

sound in,
274

temporal duration in,
85

City Lights,
141
,
141
,
275

City of Sadness,
158
,
158

city symphony,
423
.
see also Koyaanisqatsi; Man with a Movie Camera

Civilization,
459

Clair, René

Entr’acte,
198

Le Million,
91
,
231
,
284

Nous la liberté,
231

clapper boy,
24

Clarke, Arthur C.,
17

classical Hollywood cinema.
see also Citizen Kane; Meet Me in St. Louis; North by Northwest; The Wizard of Oz

cause and effect in,
102

closure in,
103

development of,
458
–461

lighting in,
134
–136

narration in,
103
–104

narrative form in,
102
–104

plot and,
103

rear projection in,
180

sound’s development in,
470
–473

clay animation,
383
–384

claymation,
383
–384

Clerks,
30
,
481

click track,
26

climax,
92

Close Encounters of the Third Kind,
478

close-up,
195

Cloverfield,
205
,
206

Coen, Ethan,
33
.
see also Raising Arizona

Barton Fink,
481

Blood Simple,
69
,
334

film style of,
481

The Hudsucker Proxy,
69
,
138
,
138

The Man Who Wasn’t There,
334

No Country for Old Men,
285

O Brother, Where Art Thou?,
335

Raising Arizona,
69
,
481
,
481

Coen, Joel,
33
.
see also Raising Arizona

Barton Fink,
481

Blood Simple,
69
,
334

film style of,
481

The Hudsucker Proxy,
69
,
138
,
138

The Man Who Wasn’t There,
334

No Country for Old Men,
285

O Brother, Where Art Thou?,
335

Raising Arizona,
69
,
481
,
481

Coeur fidèle,
465
,
465

coherence,
66

Cohn, Norman,
31

Collateral,
28
,
60
,
332

artistic decisions in making of,
4
–8,
5
–7

cinematography in,
5
,
5

cues in,
57

editing in,
6
–7,
7

HD used in,
14

lighting, custom in,
6
,
6

musical score in,
7
–8

screenplay of,
4
–5

collective production,
31

color

in animated film,
152

by hand,
170

Hitchcock and,
225
–226

lighting with,
136

limited palettes for,
150

monochromatic design,
150

as motif,
155

overlaps and,
152

screen space and contrast of,
149
–150

setting and,
123

The Thin Blue Line
’s motifs with,
430
–431

color film emulsion,
11

color timer,
25

choices of,
169

Comingore, Dorothy,
20

compilation documentary,
17
,
351

compilation film,
32

complexity,
66

composer,
7
–8,
26

composite shots,
180

composition.
see also
screen space

balance in,
148
–149

in
Citizen Kane,
321
–322

deep-space,
154

Mamet on,
151

scanning,
157

scene space and,
151
–155

screen space and,
148
–151

shallow-space,
154

computer-generated imagery (CGI),
25
–26,
183

Jackson and,
185

in
The Lord of the Rings: The Fellowship of the Ring,
184
–185,
185

in
The Lord of the Rings: The Return of the King,
184
–185

in
The Lord of the Rings: The Two Towers,
184
,
184
–185

concept artist,
24

Conner, Bruce,
377
.
see also A Movie

A Movie,
232
,
232
,
279
,
284
,
366

consumer cameras,
13
–14

contact printer,
10
,
10

Contempt,
297
,
477

continuity,
19

continuity editing,
234
.
see also
discontinuity editing; 180° system

axis of action in,
236
–238,
237
–238

in
Ballet mécanique,
371

in
Bringing Up Baby,
242
,
243

cheat cuts in,
243
–244

early cinema development and,
460