On the History of Film Style (2018)

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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