B0041VYHGW EBOK (206 page)

offscreen/onscreen,
285
,
288
–291

resources of,
285
,
288
–291

sound perspective and,
292
–293

in
Stagecoach,
285
,
288
–289

temporal relation to,
295
–297

Dietrich, Marlene,
273

digital cinematography,
5

digital color grading,
24

digital dailies,
23
–24

digital effects,
123

digital intermediate (DI),
24

digital media,
13
–16

digital projection,
40

digital video discs.
see
DVDs

direct-cinema documentary,
351

director of photography (DP),
20
.
see also
cinematography

directors

as auteurs,
33

decisions of,
3
–4

in pre-production,
18

shooting phase, crew of,
19
–20

discontinuity editing

in
Breathless,
258
–259,
259

in
October,
262
–265,
263
–264

in
The River,
362
,
362

spatial,
257
–262

temporal,
257
–262

The Discreet Charm of the Bourgoisie,
467

Disney, Walt,
385

dissolve,
223
–224

distance, framing and,
195
–196

Distant Voices, Still Lives,
85

distribution.
see
film distribution

DIY.
see
“do it yourself” production

DIY Film Festival,
42
–43

“do it yourself” production (DIY),
32

Do The Right Thing,
443
,
481

ambiguity in,
407

conflict in,
405
–406

critical analysis of,
404
–408,
407
–408

editing in,
234

film style in,
407
–408

long take in,
407
,
408

motifs in,
405

narrative form in,
406
–407

plot of,
404
–405

setting of,
405

shot/reverse shots in,
407
,
407

sound track for,
408

documentary film

categorical form in,
353
–359

cinéma vérité,
200

compilation,
17
,
351

critical analysis for,
422
–431

defining,
349
–350

direct-cinema,
351

fiction film compared to,
32
,
351
–353

Gap-Toothed Women in,
354
–359

interview,
351

manipulation in,
349
–350

nature,
351

portrait,
351

rhetorical form in,
359
–365

The River
and,
361
–365,
361
–365

scriptwriting for,
17

synthetic,
351

types of,
351

Dog Star Man,
30
,
366

Dogma,
481
–482

dolly grip,
24

dolly shots,
199

in
Grand Illusion,
208
–210

Don Juan,
470

Donnie Darko,
89

Don’t Look Now,
174
,
174

Doom,
335

El Dorado,
465
,
465

Double Jeopardy,
332

Doubt,
203

Down by Law,
479
–480

DP.
see
director of photography

Dr. Zhivago,
477

Dracula,
341

Dragnet,
45

Dragon Gate Inn,
482

The Draughtsman’s Contract,
150
,
151

drawn animation,
382

Dreams of Toyland,
384
,
384

Dressed to Kill,
478

Dreyer, Carl

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

Ordet,
199

La Passion de Jeanne d’Arc,
128
,
129
,
152
,
195
,
195
,
197
,
232
,
476
,
476

drivers,
21

Drunken Master,
483

dry recording,
276

Dryburgh, Stuart,
315

dubbing,
26
.
see also
automated dialogue replacement

Duck Amuck,
386
–388

narrative form in,
386
–388

offscreen space in,
387
–388

temporal flow in,
387

The Dueling Cavalier,
294

Dulac, Germaine,
464

The Seashell and the Clergyman,
466
,
466

Dune,
290

duration,
85
–86

DVDs (digital video discs)

letterboxing on,
46

piracy and,
42

profits from,
41
–42

puzzle films encouraged by,
89

supplements on,
4
,
43
,
44

The Dying Swan,
149
,
149
–150

early cinema,
455
–458.
see also
camera development; classical Hollywood cinema; French impressionist cinema; French surrealist cinema; Griffith, D.W.

continuity editing during development of,
460

editing in,
459
–460

frame rates in,
9

in Germany,
461
–463

narrative form development in,
457
–460

shot/reverse shot in,
460

silent era in,
460

Soviet Montage in,
467
–469

Early Summer,
258
,
258

Eastman, George,
455

Easy Rider,
478

Eat,
223
,
366

L’Eclisse,
92

Edison, Thomas A.,
455
–456

editing,
223
.
see also
continuity editing; discontinuity editing; shock cuts

in
The Birds,
224
–225,
225
,
228
,
229
,
230
–231

in
Breathless,
412

in
Citizen Kane,
227

in
Collateral,
6
–7,
7

contemporary,
250
,
251
–253

crosscutting in,
232
,
246
,
248

cutting as part of,
224

dissolve in,
223
–224

in
Do The Right Thing,
234

in early cinema,
459
–460

Eisenstein on,
468
–469

elliptical,
233

fade-in in,
223

fade-out in,
223

film history and,
24

flashbacks in,
233

graphic match in,
226

graphic relations in,
225
–229

of
La Guerre est finie,
260
–261

in
King of Comedy,
447

Kuleshov effect in,
231
–232

in
A Movie,
378

nonlinear systems,
24

overlapping,
234

of Ozu,
256
–258

in
Pierrot le fou,
261
,
261

process of,
23
–24

Pudovkin on,
468

in
Pulp Fiction,
227
,
227

rhythmic relations in,
230
–231

spatial relations in,
231
–232

in
Tampopo,
226
,
227

of Tati,
257
–258

in
Touch of Evil,
227
,
227

Vertov and,
231

wipes in,
223
–224

editor,
22
–24

Edward Scissorhands,
85

effect.
see
cause and effect

Eggeling, Viking,
462

Eiga-zuke,
366

The Eight Diagram Pole Fighter,
482

8
½,
27
,
91
,
96
–97,
97
,
125
,
128

sound bridge in,
296
–297

8
Mile,
344

Eisenstein, Sergei,
270
,
356
.
see also October

Alexander Nevsky,
283

Bezhin Meadow,
134
,
134

on editing,
468
–469

influences of,
467
–468

Ivan the Terrible,
122
,
123
,
128
,
129
,
134
,
136
,
137
,
143
,
144
,
199
,
200
,
273
,
273

October,
60
,
102
,
234
,
313
–314

Potemkin,
102
,
170
,
223
,
468

Strike,
102
,
142
,
235
,
259
,
468

Election,
motifs in,
123
–124,
126

electroluminescent display panels (ELD panels),
6
,
6

electronic press kits (EPKs),
37

Elephant,
90

long takes in,
214
,
214

11
:14,
43

elliptical editing,
233

in
Tokyo Story,
415
–416

emotions.
see
feeling

Empire,
223

Empire II,
31
,
31

emulsion.
see
film emulsion

The End,
194
,
194