We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
336
Biplanar depth, 208, 225, 238
Birth of a Nation, The (1915), 12, 13, 18, 22, 24, 26, 30, 31, 37, 97, 103, 119, 130, 132, 158, 268
Bitzer, Billy, 105
Black Ball, The (Die schwarze Kugel, oder die geheimnisvollen Schwestern, 1913), 180
Blow-Out (1981), 245
Blue Express (Goluboi Ekspress, 1929), 209
Bonnie and Clyde (1967), 247, 248
Borzage, Frank, 205, 237, 256
Bottomore, Stephen, 122
Boulez, Pierre, 85, 89, 91, 95, 304
Bowser, Eileen, 133, 290, 308n56
Brakhage, Stan, 83, 87, 114, 231, 232, 306n26
Brasillach, Robert, 38-42, 44, 46, 47, 52, 55, 60, 61, 70, 72, 73, 75, 118, 270, 291
Breathless (A bout de souffle, 1960), 7, 83
Brecht, Bertolt, 12, 51, 85, 93, 94, 105, 106, 111, 160, 266
Brennende Acker, Die (1922), 201, 203
Bresson, Robert, 7, 48, 54, 60, 87, 89, 107, 230, 231, 253
Brewster, Ben, 122, 177, 183
Brighton conference of 1978, 103, 104, 118-119
Brighton school of filmmakers, 41, 99
Bringing Up Baby (1938), 224
Broken Blossoms (1919), 23, 35
Brownlow, Kevin, 102, 184
Brunel, Adrian, 208
Buffet froid (1979), 264
Bulldog Drummond (1929), 222
Bufuel, Luis, 50, 87, 154, 253
Burch, Noél, 117, 156, 270, 288-289; cultural context, 84-89, 120-121; theory of style, 89-95, 166-168, 205; historiography of style, 95-111, 140, 151, 155, 159-160, 164, 197, 198, 260, 316n83; and other research programs, 111-115, 126-128, 133, 135, 137, 139
By the Law (Dura Lex, 1926), 31, 32
Cabinet of Dr. Caligari, The (Das Cabinet des Dr. Caligari, 1920), 12, 16, 21, 23, 26, 32, 39, 74, 100, 101, 115
Cahiers du cinéma, 44, 46—50, 54, 70, 76-82, 87-90, 92-95, 101, 116, 117, 118, 133, 159-161, 169, 215, 235, 239, 241, 253, 298, 304
Camera movement, 16—17, 22, 34, 60, 67, 70, 71, 198, 211-217, 219, 225, 250, 263, 329n134, 330n144
Cameron, John, 238
Canudo, Riccioto, 23, 29
Carroll, Noél, 152, 153, 200, 269, 320
Centering in composition, 96, 97, 165-168, 180,
195, 208, 228, 246, 251
Chabrol, Claude, 76, 250
INDEX
Chaplin, Charlie, 21, 23, 24, 32~33, 35, 44, 201, 202
Charge of the Light Brigade, The (1936), 212-213, 233
Cheat, The (1915), 20, 35, 69, 96, 97, 132
Chéreau, Patrice, 250
Child of the Big City, A (Ditya bol’shogo goroda, 1914), 180
Chinoise, La (1967), 93, 94
Chushingura (1913 or 1917), 179
Citizen Kane (1941), 7, 48, 56-59, 62-65, 69, 70, 73, 89, 113, 116, 128, 158, 160, 217, 221, 224, 225, 228, 229, 241, 247, 268, 298
Clair, René, 12, 18, 22, 24, 36, 40, 50, 76, 99, 291, 296n86, 298
Close-ups, 1, 2, 112, 238, 246, 249, 330n145; and Griffith, 15,22, 56, 121, 130-131, 312n27; and Standard Version historians, 33, 34, 42, 99, 120, 197; in early film, 41, 121-122, 126, 312n27; and continuity editing, 55, 57, 109, 153, 167, 197, 204, 210, 211, 228, 237, 260; as term 121-123; and deep-focus cinematography, 208, 224-225, 229, 257
Cobweb, The (1955), 242, 243
Cocteau, Jean, 12, 47, 50, 59, 72, 73
Coen, Joel and Ethan, 256-257
Collins, Alfred, 42, 166, 172
Comolli, Jean-Louis, 93-95, 159-163, 181, 182, 198, 205, 209, 247
Constructive editing, 17-18, 33-34, 74, 230
Continuity editing, 1-2, 62, 74, 90, 91, 96, 106, 128-129, 133-137, 155, 197-199, 206, 208-209, 211, 214, 225, 229-230, 265
Conversation, The (1973), 247
Coppola, Francis Ford, 7, 247, 256, 261
Corner in Wheat, A (1908), 130, 196
Cranes Are Flying, The (Letyat zhuravli, 1957), 232
Crestline films, 99-101, 104, 105, 111, 112, 114, 115
Crime of M. Lange, The (Le crime de M. Lange, 1935), 214
Cross-cutting, 13-15, 31, 32, 36, 74, 96, 99, 119,
129, 130, 133, 136, 152, 197, 214, 314n51
Crows and Sparrows (Wuya yu maque, 1949), 1, 2,552
Culturalism, 10, 141
Curtiz, Michael, 212—213, 233
Dali, Salvador, 12
Dame vraiment bien, Une (1908), 174
Davies, Terence, 263, 266, 267
Daydreams (Grezy, 1915), 153
Debray, Régis, 147-148
Découpage, 52-55, 59, 61-64, 67, 69, 70, 74, 75, 77, 78, 83, 87, 89, 90, 99, 101, 109, 113, 153, 198, 199-205, 209, 211, 214, 225-227, 235