Drew, Robert, 475
Drews, Berta, 372
Dreyer, Carl Theodor, 208, 278, 326
The Passion of Joan of Arc, 448
Dreyfus, Jean-Claude, 418
Dr. Jekyll and Mr. Hyde(Mamoulian),
193, 199
Dr. Strangelove, or: How I Learned to
Stop Worrying and Love the
Bomb(Kubrick), 109, 245,
268, 272, 322, 398
Drugstore Cowboy(Van Sant), 277,
347–48
Drums Along the Mohawk(Ford),
235, 314
dubbing, 144,392, 392
Duchamp, Marcel, 57, 58
Anémic cinéma, 79
Duel in the Sun(Vidor), 105
Duigan, John, Head in the Clouds,
188, 189
Dulac, Germaine, The Seashell and
the Clergyman, 447
Dumbo(Sharpsteen), 85
Dunaway, Faye, 41,204, 304, 474
Dunmore, Laurence, 293
Durand, Jean, 445
duration, 16, 149–53,152, 164
plot, 149, 150, 151
plot vs. screen, 150, 151
screen, 149, 150, 151
of shots, 351
in Stagecoach(Ford), 164
story, 39,149, 151
story vs. plot, 150
Dutch-angle shot, 263, 263
Duvall, Robert, 304, 420
Duvall, Shelley, 261, 261, 394
Duvivier, Julian, 313
DVDs (digital video discs), 509,
511, 514
Dwan, Allan, The Half-Breed, 314
Dyer, Richard, 300
Dylan, Bob, 291, 291
dynamization of space, 51
E
Eagle-Lion Films, 499
early filmmaking, 47–49, 56, 183–85,
233–34, 279, 342, 404
Early Spring(Ozu), 466
Early Summer(Ozu), 466
Earthquake(Robson), 309
Eastman, George, 435, 436
Eastman Color system film, 235
East of Eden(Kazan), 303, 304
Eastwood, Clint, 104, 315, 326, 473–74
Million Dollar Baby, 145
Unforgiven,103, 104, 110
Easy Living(Leisen), 182, 452
Easy Rider(Hopper), 474
Eat Drink Man Woman(A. Lee),
201, 470
Eccleston, Christopher, 517
Eckhart, Aaron, 192
Edeson, Arthur, 248, 260, 260, 279
edge lights, 241
Edgerton, Nash, The Square, 96
Edison, Thomas A., 103, 234, 437,
438,439, 439,440, 495, 505
Edison Kinetoscopic Record of a Sneeze
(Dickson), 437–38
editing, 5, 8, 9,36, 442
acting and, 327
continuity and discontinuity in,
355–75, 361
continuity techniques in, 364–68,
440, 440
defined, 339–86,340, 341
director’s cut in, 343
dissolves in, 371–72
editor’s responsibilities in,
344–55
ellipsis in, 347–49,348, 349,367,
440
fades-in, 368–70,372, 384
fades-out, 384
film editors and, 342–55
flashbacks in, 346
flash-forwards in, 346
freeze-frames in, 373–74,374, 384
iris shots in, 372, 372
master scene technique in, 359
master shots and, 359, 362
match cuts in, 364–67, 366
montage in, 129, 349–51,350,
352, 384
parallel, 42, 43, 367
point of view, 368
reverse-angle shots in, 364
rhythm in, 351–55, 354
screen direction and, 359–64
shot/reverse shots, 364
of sound, 365, 392, 392
spatial relationships in, 344–45,
347, 361
superimpositions, 384temporal relationships in, 345–51
transitions in, 368–75
wipes in, 372
Edson, Richard, 473
Education, An(Scherfig), 128
Edwards, Blake, Breakfast at
Tiffany’s, 312
Edwards, J. Gordon, 191
Edward Scissorhands(Burton), 189,
190,211, 292, 319, 319
Ed Wood(Burton), 211
Egoyan, Atom, 154, 418
The Sweet Hereafter,400–401
Eidoloscope, 438, 439
81 ⁄ 2 (Fellini), 81
8 Mile(Hanson), 293
Eisenberg, Jesse, 140
Eisenstein, Sergei, 8, 151, 155, 172,
179, 194, 255, 303, 349, 351,
448–50, 474
Alexander Nevsky,405, 449, 449
Battleship Potemkin, 352,449,
450, 450
Ivan the Terrible, Parts I and II, 449
montage of attractions, 450
October(Ten Days that Shook the
Wo r l d), 449
Que Viva México, 449
Strike, 449
Ekerot, Bengt, 232
Elephant(Van Sant), 273
Elephant Man, The(Lynch), 202
Elfman, Danny, 404
Eliot, T. S., 86
Elizabeth(Kapur), 291
Elkind, Rachel, 389
ellipsis, 347–49,348, 349,367, 440
defined, 347
Elswit, Robert, 231
Emak-Bakia(Ray), 79, 446
Eminem, 293
Emperor Jones, The(Murphy), 313
emphasis, sound as, 421–23
Employees Leaving the Lumière
Factory(Lumière and
Lumière),
59, 439
Engel, Tina, 372
English Patient, The(Minghella), 390
Enigma of Kasper Hauser,
The(Herzog), 418
Enoch Arden(Griffth), 442
ensemble acting, 325–26
Enter the Void(Noé), 275INDEX 587