B0041VYHGW EBOK (212 page)

with iris,
191

masks,
190
–191

Mass for the Dakota Sioux,
366

master shot,
21
–22

match on action,
7
,
240

Match Point,
35

Matchstick Men,
259

The Matrix,
43
,
336
,
482

matte artist,
25

matte work,
181

in
Who Framed Roger Rabbit,
181
,
182

Mauvais sang,
136
,
136

Maximum Overdrive,
246

Maysles, Albert,
354

Maytime,
104
,
255

Mazursky, Paul,
316

McCabe and Mrs. Miller,
479

McEwan, Ian,
101

McLaren, Norman

Begone, Dull Care,
152

Blinkety Blank,
383
,
383

Neighbors,
384

McTiernan, John

Die Hard,
172
,
190

The Hunt for Red October,
26
,
276
,
277
,
282

Me and You and Everyone We Know,
30
,
188
,
479

Mean Streets,
440
,
478
,
478

meaning,
62
.
see also
explicit meaning; implicit meaning

explicit,
63

film form and,
62
–65

implicit,
63
–64

interpretations and,
64

in
Meet Me in St. Louis,
437
–438

referential,
62
–63

symptomatic,
64
–65

medium close-up,
195

medium long shot,
195

medium shot,
195

Meet Me in St. Louis,
65
,
168
,
169
,
337
,
343
,
396
,
443
–446

critical analysis of,
431
–438,
432
–435,
437

dialogue in,
436

film style in,
433

lighting in,
435
–436

meaning in,
437
–438

mise-en-scene in,
433
–436

motifs in,
434
–437

musical score in,
434

narration in,
433

plot/story for,
432

setting of,
431
–432

social ideology in,
431
–438

in Technicolor,
433

Méliès, Georges,
456
–457

Cinderella
(1899),
457

La Lune à un mètre,
120
,
120

The Mermaid,
120
,
120

mise-en-scene and,
119
–121

Star-Film studio of,
120

Melville, Jean-Pierre,
Le Samourai,
333

Memento,
88
–89

Menace II Society,
479

Menel, Jirí,
Larks on a String,
150
,
150

Menichelli, Pina,
142
,
142

merchandising,
38

The Mermaid,
120
,
120

Meshes of the Afternoon,
31
,
31

Metropolis,
463
,
463

MGM,
458

Mi Vida Loca,
480

Michelangelo,
3

Mickey Mouse,
383

Mickey-mousing,
282

Microcosmos,
351

Milestone, Lewis,
All Quiet on the Western Front,
231

Miller, George,
The Road Warrior,
101
–102,
114
,
199
,
230
,
246
,
246
–247

Le Million,
91
,
231
,
284

nondiegetic sound in,
284

mini-DV,
15

Minnelli, Vincent,
475
.
see also Meet Me in St. Louis

Meet Me in St. Louis,
65
,
168
,
169
,
337
,
343
,
396
,
443
–446

minor players,
19

Minority Report,
333

The Miracle Worker,
132
,
133

Miramax,
35

mise-en-scene,
118

acting as part of,
139
–146

Antonioni and,
146
–147

in
L’Avventura,
146
,
146
–147

in
Breathless,
411

costumes as part of,
125
,
128

definition of,
118

depth cues and,
153

in
His Girl Friday,
399

lighting as part of,
131
–138

makeup as part of,
128
,
130

in
Meet Me in St. Louis,
433
–436

Méliès and,
119
–121

narrative time as part of,
155
–159

origins of,
119
–121

in
Our Hospitality,
159
–163

overlaps in,
147

realism and,
118
–119

setting as part of,
121
,
123
–124

staging as part of,
138
–146

for
Tokyo Story,
414

The Mission,
485

Mission: Impossible,
479

Les Mistons,
476

Mitchell, Roger,
Notting Hill,
123
,
213

Miyazaki, Hayao,
34

Princess Mononoke,
385
,
386

Mizoguchi, Kenji,
205

Naniwa Elegy,
159
,
159

Sansho the Bailiff,
97
,
97

Sisters of Gion,
215
–216,
216

mobile framing,
199

in animated film,
201

with crane shots,
199

with dolly shots,
199

following shot and,
203

functions of,
203
–207

in
Grand Illusion,
207
–211,
207
–211

handheld,
200
–201

in
His Girl Friday,
203
,
203

long takes and,
215
–216,
218

narrative time and,
205

panning in,
199

patterns of,
205
–207

as POV shot,
200

in
Psycho,
205
–206,
206

reframing and,
203

space and,
203
–205

Steadicams,
200

tilting in,
199

in
Wavelength,
211
–212,
211
–212

mockumentaries,
352

model animation,
384

model maker,
25

Modern Times,
275

Mon Oncle d’Amérique,
257
,
258

film style in,
313
,
313

spatial continuity in,
257
,
258

monochromatic design,
150

monophonic sound tracks,
11

Monsters, Inc.,
385

Monsters and Aliens,
40

montage sequences,
254

in
Citizen Kane,
109

in
Jaws,
254

in
Spider-Man,
254
,
256

temporal continuity and,
254

Moore, Julianne,
273

Moore, Michael,
360

Fahrenheit
9
/11,
351

Roger and Me,
82
,
350

Morgan!,
201

Morris, Errol.
see also The Thin Blue Line

The Fog of War,
351

The Thin Blue Line,
352
,
352
–353,
396
,
444
–446

Morris, Glen,
354

Morrison, Phil,
Junebug,
30

Morrison, Toni,
79

Mother’s Day,
367

Mothlight,
383

motifs,
68

in
Ballet mécanique,
373
–374

in
Chungking Express,
420
–421

color as,
155

in
Do The Right Thing,
405

in
Election,
123
–124,
126

film form and,
68
,
70

in
Gap-Toothed Women,
356

in
Jules and Jim
’s musical score,
279

in
Meet Me in St. Louis,
434
–437

in
North by Northwest,
401

in
Our Hospitality,
161
–162

The Prestige,
sound and,
301
–302

in
The River,
365

The Thin Blue Line
and color,
430
–431

in
The Wizard of Oz,
68
,
70

motion capture,
22
,
23

Motion Picture Patents Company (MPPC),
458

motivation,
68

acting and,
140
,
142
–144

in
Citizen Kane,
109
–111

in
The Wizard of Oz,
68

Moulin Rouge!,
344
,
344

Mouris, Frank,
Frank Film,
383
,
383

movement.
see also
mobile framing

as depth cue,
152
–153

screen space and,
151

movements.
see
film movements

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

as associational form film,
376
–381,
378
–380

editing in,
378

expectations and,
377
–378

imagery in,
380