A
Abrams, J. J., 293f
abstract, 187, 205
act, 261, 282
action, 104, 115
Adam, Ken, 306
adaptation, 252, 282
Ahmad, Yasmin, 186
Allen, Dede, 65
Alton, John, 132
ambient sound, 93, 115
amplifi ers, 85, 115
anamorphic, 150, 161
antagonist, 254, 256, 282
aperture, 48f, 126, 161
archival footage, 213, 244
art director, 308, 323
Arzner, Dorothy, 62, 62f
aspect ratio, 142, 150–153, 161
associational motion pictures, 187, 203
audience, reaching, 171–175
authenticity, 212, 244
automated dialogue replacement, 94, 115
avant-garde, 174, 203
axis, 11, 13–15, 14f, 15 f, 35B
background, 20–21, 20f, 21 f, 35
backstory, 272, 282
barn doors, 303, 323
base, fi lm, 48, 74
beats, 264, 269, 281
Bennett, Joan, 296f
best boy electric, 302, 323
best boy grip, 303, 323
bits, 123, 161
Bittner, Tilman, 135f
Blaché, Alice Guy, 55–56, 175, 175f,
251, 252
black and white, 138–140
bluescreen, 310, 310f, 323
boom, 89–90, 90f, 115
Boorman, John, 227
Brackett, Charles, 250f
breakdown, script, 297, 297f, 323
Brothers Quay, 196
Burwell, Carter, 94business, motion picture, 169–175
Butler, Greg, 78–80C
call sheets, 294, 323
camera
anatomy of, 48f
moving, 142–143
operator, 300, 323
team, 300–302
camera obscura, 47, 74
camera unit, 299–303
Cardiff , Jack, 146f
cardioid microphone, 91, 115
casting, 106, 115
casting director, 294, 323
casting process, 295–296
categorical fi lms, 187, 203
celluloid, 51, 74
changing bag, 301, 323
character, 102, 115
characterization, 102, 115
chroma key, 310, 310f
chronophone, 64, 74, 84f
chronophotograph, 5f
cinema
early, 51–56
growth of, as art form, 63
CinemaScope, 150–151, 161
Cinémathèque Française, 172f
cinematograph, 51, 74
cinematographer, 125, 132–135, 161
cinéma vérité, 223, 244
close shot, 8, 8f, 37
close-ups, 7, 7f, 37, 38
collaborative process, 287
color, 143–149
color temperature, 146, 161
color wheel, 143f
comedies, 191, 203
commentary, 213, 244
communication
building blocks of visual, 7–18
images for, 10
on screen, 4–5
sound and, 81
companies, fi lm, 174
compositing, 309–311composition, 15
defi nition of, 37
of style, 18
use of, 19–20
computer-generated imagery, 11, 37
confl ict, 102, 115, 256
construction manager, 308, 323
continuity editing, 59
defi nition of, 13, 37
match cuts in, 13, 13f
space in, 15–18
time in, 14–15
contrast, 132, 161
cooperative decision-making, 106
cooperative endeavors, 287–291
copyright, 251
costume designer, 312, 323
coverage, 230, 244
crane shot, 24, 37
crime, 191, 203
cross-cutting, 55, 74
Crowley, Nathan, 307
cut
fi nal, 170, 203
jump, 14–15, 38
match, 13, 13f, 38
cutaway shot, 60, 74
cutting away, 60D
daguerreotype, 48, 74
Daste, Jean, 193f
Daves, Delmer, 180f
decision-making, cooperative, 106
defi nition, of image, 127, 161
De Forest, Lee, 85–86
departments, 297–298
Depp, Johnny, 306f
depth of fi eld, 135–136, 161
depth of view, 22–23, 22f, 23 f
Deren, Maya, 195
designer
costume, 312, 323
production, 303f
set, 308, 325
development, 170, 203
dialogue, 81, 104, 115
DiCillo, Tom, 317Information presented in fiInformation presented in fi gures is indicated by gures is indica f.Index
334
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