performance capture, 283
performances, assessing acting,
327–36, 329
Peripheral Produce, 82
Perkins, V. F., 181
Persepolis(Satrapi and Paronnaud),
114, 231
persistence of vision, 49
Persona(Bergman), 81
personality actors, 290, 291–92
persuasive films, 72, 72–73
Peters, Hans, 182
Pevney, Joseph, 193
Phantasm(Coscarelli), 102
Philadelphia Story, The(Cukor), 301
Phillips, Todd, The Hangover, Part II,
109, 515
phi phenomenon, 49
Phoenix, Joaquin, 148
photography, 435
Aristotle and, 435
director of, 226–28
history of, 435–37
Leonardo Da Vinci and, 435
physical characteristics, of sound,
393, 394
Pi(Aronofsky), 231
Piano, The(Campion), 329, 329
Pickford, Mary, 295, 498
Pickup on South Street(Fuller),
96, 465
Pied Piper of Hamelin, The, 401
Pierce, Jack P., 193
Pierson, Frank, 130
Pike, Kevin, 280
Pineapple Express(Green), 109
Pinkava, Jan, Ratatouille, 181
Pinocchio(Disney), 499
Pinter, Harold, 209
Pinto, Freida, 403
Pioneer Pictures, 235
piracy, 491
Pirates of the Caribbean: At World’s
End(Verbinski), 282, 293
Pirates of the Caribbean: Curse of
the Black Pearl(Verbinski),
293
Pirates of the Caribbean: Dead Man’s
Chest(Verbinski), 282, 293
Pirates of the Caribbean: On Stranger
Tides(Marshall), 85, 293,
516
Pirates of the Caribbeanmovies,
23, 128
Piravi(Karun), 472
pitch, 394
Pitt, Brad, 283, 292, 329
Pitt, Michael, 126
Pixar Animation Studios, 282
Pixar Studios, 113, 114, 181, 490
pixels, 489
Place in the Sun, A(Stevens), 302
plan américan, 251
planes, focal, 246
Planet of the Apes(Burton), 211
Platoon(Stone), 408, 419
Platt, Louise, 157, 158, 207
Player, The(Altman), 304–5, 315–16,
416, 492
Play House, The(Keaton), 375
Pleasantville(Ross), 236
plot:
causality and, 68, 142
defined, 140
duration in, 149, 150
events in, 148–49, 149
explicitly presented events and,
140, 141
implied events and, 140, 141
obstacles in, 129, 136
order in, 145–48,147, 148, 161
of Stagecoach(Ford), 161–64
story and, 140–45, 141
plot duration, 149, 150, 151
plot points, 134
Plowright, Joan, 314
Plunkett, Walter, 191
Poe, Edgar Allen, 446, 447
poetic realism, 458
point of view (POV):
auditory, 159
editing and, 368
framing and, 202, 274–75
group, 274
omniscient, 219, 274
sound and, 416–18
subjective, 219
point-of-view shot, 16, 274–75, 277
Poitier, Sidney, 304, 313
Polanski, Roman, 204, 205,212, 231,
304, 317, 474
Chinatown,96, 199, 474, 474
The Ghost Writer, 121
Rosemary’s Baby, 21,22, 101, 266
Polar Express, The(Zemeckis),
114–15, 115,283, 309
Polglase, Van Nest, 185, 195
Polish, Del, 176
Polish, Michael, Northfork, 176
Polito, Jon, 422Pollack, Sydney:
The Interpreter, 307
Out of Africa, 492
They Shoot Horses, Don’t They?, 346
Polley, Sarah, 401
Poltergeist(Hooper), 102
Polyester(Waters), 309
Polyvision, 375
Pongpas, Jenjir, 409
Pope, Bill, 277, 282
Porgy and Bess(Preminger), 313
Portabella, Pere, The Silence before
Bach, 409
Porter, Edwin S., 234, 279, 440, 440
The Great Train Robbery, 103
Tess of the Storm Country, 442
Portman, Natalie, 127,128, 208
Portrait of a Lady, The(Campion),
307
Possessed(Bernhardt), 301
Postman Always Rings Twice, The
(Garnett), 96, 456
Postman Always Rings Twice, The
(Rafelson), 456
postproduction, 494–95
Potente, Franka, 352, 354
POV, seepoint of view
Poverty Row studios, 460, 498
Powaqqatsi(Reggio), 277
Powdermaker, Hortense, 500
Powell, John, 406
Powell, Michael, 99, 200
Peeping Tom, 99
Power of Love, The(Deverick and
Fairall), 515
Prasthanam(Katta), 472
Praxiteles, 37, 38
precinema, 435–37
Precious: Based on the Novel “Push”
by Sapphire(Daniels),
128, 129
Preminger, Otto, 93, 179, 265, 313,
313, 406
Laura,96, 322
preproduction, 492–93
Presley, Elvis, 408
Presley, Robert, 283
Pressburger, Emeric, 200
Pretty Pictures: Production Design and
the History of Film
(Tashiro), 432
Pretty Woman(Marshall), 143, 492
Prieto, Rodrigo, 269
prime lenses, 246
principle of “invisibility,” 441604 INDEX