B0041VYHGW EBOK (211 page)

lighting.
see also
cinematography

acting and adjustments for,
136

in animated film,
137
–138

attached shadows in,
131

in
Back to the Future,
135
,
135
–136

backlighting,
132

in
Breathless,
411

cast shadows in,
131

in classical Hollywood cinema,
134
–136

in
Collateral,
6
,
6

color and,
136

direction of,
132

ELD panels,
6
,
6

Fellini on,
131

fill,
133
–134

frontal,
132

high-key,
135
–136

key,
133
–134

low-key,
136

in
Meet Me in St. Louis,
435
–436

mise-en-scene and,
131
–138

in
Our Hospitality,
160
–161

quality of,
132

Rembrandt,
459
–460,
460

sources for,
132
–136

three-point,
134
–135

top,
132

underlighting,
132

virtual designs for,
137
–138

Lilio and Stitch,
344

The Limey,
482
,
482

limited animation,
383

line of action

in
Chungking Express,
421

in
His Girl Friday,
397
–398

in
North by Northwest,
400
,
402
–403

line producer,
17
,
21

linear perspective,
153

Linklater, Richard,
School of Rock,
344

Little Big Man,
339

The Little Foxes,
174
,
473
,
473

Little Shop of Horrors,
291

Little Stabs at Happiness,
366

The Living End,
481

loader,
25

Local Hero,
279

Lock, Stock, and Two Smoking Barrels,
333

Loktev, Julia,
Day Night Day Night,
97

Lola Montès,
206
–207

The Long Goodbye,
479

long shot,
195

long take v.,
213
–214

long takes,
213

in
Do The Right Thing,
407
,
408

in
Elephant,
214
,
214

functions of,
213
–215

by Janscó,
214

long shot v.,
213
–214

mobile framing and,
215
–216,
218

in
My Hustler,
213
–214,
214

in
The Only Son,
212
,
212

in
Rope,
214

in
Russian Ark,
214
–215,
215

in
Sisters of Gion,
215
–216,
216

Spielberg on using,
216

in
Touch of Evil,
216
,
217
,
218

The Longest Nite,
484

Look Who’s Talking,
479

looping,
26

The Lord of the Rings: The Fellowship of the Ring,
37
,
38
,
170
,
171

CGI in,
184
–185,
185

special effects in,
182
,
182

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

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

The Lord of the Rings
(Tolkien),
61

Lorentz, Pare,
The River,
360
,
368
.
see also The River

Lost Highway,
334

Lost in Translation,
269

loudness,
273

Love Affair, or the Case of the Missing Switchboard Operator,
103

Love Me Tonight,
172
,
231
,
257

sound in,
274

low-key illumination,
136

Lubitsch, Ernst,
Madame Dubarry,
461
,
461
–462

Lucas, George,
25

American Graffiti,
276
,
478

Industrial Light & Magic,
385
,
480

Star Wars: Episode I-The Phantom Menace,
123

Star Wars: Episode II-Attack of the Clones,
14

Star Wars: Episode III-Revenge of the Sith,
15
,
18
,
36

Star Wars: Episode IV-A New Hope,
182
,
478

Star Wars: Episode V-The Empire Strikes Back,
478

THX 1138,
128
,
129

Lumet, Sidney,
Fail Safe,
142
–143,
143

Lumière, August,
456

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

Baby’s Meal,
186
,
187

camera development and,
186
,
186

L’Arroseur arrosé,
456

Lumière, Louis,
456

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

Baby’s Meal,
186
,
187

camera development and,
186
,
186

L’Arroseur arrosé,
121
,
121
,
456

La Lune à un mètre,
120
,
120

Lye, Len,
Rainbow Dance,
169
,
169

Lynch, David

Blue Velvet,
334
,
479

Dune,
290

Eraserhead,
479

Lost Highway,
334

Mulholland Drive,
334

on musical score,
277

The Straight Story,
30
,
197

M,
463
,
463

crosscutting in,
248

Maas, Willard,
Geography of the Body,
366
,
367

Mackendrick, Alexander,
157

Maclaine, Christopher,
The End,
194
,
194

Maclean, Alison,
Crush,
140

Madagascar,
349

Madame Dubarry,
461
,
461
–462

magical comedies,
334

magnetic sound tracks,
11

The Magnificent Ambersons,
191
,
191
,
284
,
292

sound in,
291
–292

The Magnificent Seven,
336

Magnolia,
44
,
479

sound in,
292

web-of-life plot in,
417

Les Maîtres fous,
31

Makavejev, Dusan

Innocence,
170
,
170

Love Affair, or the Case of the Missing Switchboard Operator,
103

makeup

acting assisted by,
128
,
130

in horror films,
130
,
131
,
340
–341

men wearing,
128
,
130

mise-en-scene and,
128
,
130

makeup staff,
21

Makhmalbaf, Mohsen,
41

Malcolm X,
352
,
479

Maldoror, Sarah,
Sambizanga,
152
,
152

Malick, Terence

Badlands,
413

The Thin Red Line,
199
,
274

Mallrats,
481

The Maltese Falcon,
33
,
224

film style in,
314
,
316

framing in,
196
,
197

180° system in,
238
–242,
239
–242

shot/reverse shot in,
242

temporal continuity in,
249
,
254

Mamet, David,
23

on composition,
151

House of Games,
334

The Spanish Prisoner,
334

Mamoulian, Rouben

Applause,
471

Love Me Tonight,
172
,
231
,
257

A Man Escaped,
275

Man Ray,
466

The Man Who Knew Too Much,
83

The Man Who Wasn’t There,
334

Man with a Movie Camera,
172
,
350
,
350
,
396

as city symphony,
423

critical analysis of,
422
–424,
422
–425

explicit/implicit meanings in,
424
–425

narrative form opposed in,
424

special effects in,
422
–423

Manhattan,
479

Mann, Anthony,
Tall Target,
179

Mann, Michael,
14
,
20
.
see also Collateral

Collateral,
4
–8,
5
–7,
28
,
60
,
332

Heat,
130
,
333

The Insider,
173

The Last of the Mohicans,
282
,
338

Mann, Thomas,
59

Manufacturing Consent: Noam Chomsky and the Media,
32

March of the Penguins,
349

Marey, Étienne-Jules,
455

El Mariachi,
29
–30,
481

Marker, Chris

La Jetée,
283

Letter from Siberia,
270
,
271

marketing.
see
film marketing

Marks, Greg,
11
:14,
43

Mars Attacks,
149

Martin, Steve,
140

Mary Jane’s Mishap,
459

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

masking,
187