B0041VYHGW EBOK (217 page)

asynchronous,
294

audience expectations with,
269

in
Breathless,
413

in
Citizen Kane,
274

classical Hollywood cinema, development of,
470
–473

in
The Conversation,
298

dialogue and,
275

dialogue overlap and,
276

direction and,
293

fidelity and,
283
–284

film form and,
279
–280

flash-forward,
297

in
His Girl Friday,
399

importance of,
270
,
272

in
Jaws,
270

La Jetée
and rhythms in,
283

in
Jurassic Park,
276
–277

in
King of Comedy,
447

Kurosawa on,
270

in
Letter from Siberia,
270
,
271

loudness in,
273

in
Love Me Tonight,
274

in
The Magnificent Ambersons,
291
–292

in
Magnolia,
292

manipulation of,
274
–276

mixing,
276
–278

in
Mr. Hulot’s Holiday,
275
,
275
–276,
283
–284

narrative time and,
294
–298

nonsimultaneous,
295

over,
290

perspective,
278
–279

pitch in,
273

in
Play Time,
283

The Prestige,
motifs in,
301
–302

The Prestige
’s opening and,
304
–307

in
Providence,
297
–298

in
Psycho,
274

rhythm disparities in,
282
–283

rhythm in,
281
–283

selection of,
274
–276

in
The Seven Samurai,
278
–279

simultaneous,
295

space and,
284
–285,
288
–294

synchronous,
294

timbre,
273
–274

in
Witness,
274

sound bridge,
296
–297

sound designer,
21

sound editor,
26

sound effects

in
Jurassic Park,
276

in
The Prestige,
300

in Tati’s use of,
275

sound mixer,
20

sound mixing,
276

in
The Godfather,
277
–278

in
Jackie Brown,
287
–288

in
Jurassic Park,
277

The Sound of Music,
329
,
477

sound over,
290

sound perspective,
278
–279
,
292

diegetic sound and,
292
–293

Murch on,
292

in theater space,
293
–294

sound tracks

in
American Graffiti,
276

for
Do The Right Thing,
408

magnetic,
11

monophonic,
11

in
A Movie,
279

optical,
11

in
The River,
362

stereophonic,
11

surround,
293

sound unit,
20
–21

South Park: Bigger, Louder & Uncut,
383

Soviet Montage,
467
–469

space, in film,
86

mobile framing and,
203
–205

narrative form and,
86
,
90

sound and,
284
–285,
288
–294

The Spanish Prisoner,
334

Spanking the Monkey,
482

spatial continuity,
257
,
258

spatial discontinuity,
257
–262

spatial relations

continuity editing and,
236
–238

in editing,
231
–232

special effects,
179

cinematography and,
179
–180

front projection,
181
,
181

in
The Lord of the Rings: The Fellowship of the Ring,
182
,
182

in
Man with a Movie Camera,
422
–423

matte work,
181

optical,
183

realism and,
183
,
186

rear projection for,
180

superimposition,
179
–180

Speed,
183
,
183

speed of motion

in
Bram Stoker’s Dracula,
172
–173

cinematography and,
171
–173

Coppola, Francis Ford, using,
172
–173

in
Die Hard,
172

fast-motion effect in,
172

ramping and,
173

rates for,
172

slow-motion effect in,
172

Spheeris, Penelope,
479

Spider-Man,
254
,
256

The Spider’s Stratagem,
146
,
146

Spielberg, Steven,
33
,
479

Amistad,
315

Catch Me If You Can,
47
,
99
,
99

Close Encounters of the Third Kind,
478

E.T.,
340

Jaws,
83
,
204
,
342
,
478

Jurassic Park,
18
,
22
,
276
,
277
,
385
,
479
–480,
480

on long takes,
216

Minority Report,
333

Raiders of the Lost Ark,
82
,
91
,
230

Saving Private Ryan,
336

Schindler’s List,
352

Splash,
334

split-screen imagery,
191
,
191

spotting,
26

sprockets,
11

St. Clair, Malcolm,
Are Parents People?,
460
,
461

Stage Fright,
400

Stagecoach,
246
,
247
,
290

diegetic sound in,
285
,
288
–289

staging

mise-en-scene and,
138
–146

in
Our Hospitality,
161

Stalker,
169
,
169

Stalling, Carl,
275

A Star Is Born,
335

Star Wars: Episode I-The Phantom Menace,
123

digital projection and,
40

Star Wars: Episode II-Attack of the Clones,
14
–15,
25

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

Star-Film studio,
120

stars,
19
.
see also
acting

static camera,
201

Steadicams,
200

in
Raging Bull,
440

stereophonic sound tracks,
11

Stewart, James,
142
,
144

still photographer,
25

Stone, Oliver

JFK,
223
,
352

on television’s influence,
230

W.,
352

stop-action animated films,
139
,
139

Storm over Asia,
469
,
469

story,
80

of
Breathless,
409
–410

of
Chungking Express,
418

in
Citizen Kane,
105

effects,
84

in
Meet Me in St. Louis,
432

musical score serving,
7
–8

in narrative form,
80
–82

plot v.,
81
–82

of
The Prestige,
298
–300

in
Raging Bull,
440

storyboard,
18
,
18

“straight” musical,
343

Straight Shooting,
338
–339

The Straight Story,
30
,
197

Stranger Than Fiction,
482

Stranger Than Paradise,
30
,
479
–480,
480

Straub, Jean-Marie

The Chronicle of Anna Magdalena,
183
,
183

Not Reconciled,
103

stretch printing,
173

Strike,
102
,
142
,
235
,
259
,
468

studio film production,
28

of horror films,
342

stunt artists,
20

stunt coordinator,
20

style.
see
film style

subgenres.
see
film subgenres

Summer at Grandpa’s,
198

super
8
mm (film),
11
,
12

superimposition,
179
–180

Superman Returns,
14

supporting players,
19

El Sur,
136
,
136

surprise

endings,
78
–79

expectation leading to,
59

Surrealist cinema,
466
–467

Suspense,
192

Swank, Hilary,
139

Swing Time,
281
–282,
345
,
345
–346,
472

Syberberg, Hans-Jürgen,
Parsifal,
181
,
181

symptomatic meaning in,
64
–65

synchronous sound,
294

synergy,
35

synthetic documentary,
351

The Talented Mr. Ripley,
333

Tall Target,
179