Index 335Dickerson, Ernest, 63
Dickinson, Th orold, 52f
Dickson, W. K. L., 6, 83
diff usion, 303, 323
digital audio tape, 91, 115
digital color, 147–149
digital recording, 91, 115
digital video, 52, 74
dimensions, screen, 149–153
diopter, 141, 161
direct cinema, 226, 244
director
art, 308, 323
casting, 294, 323
fi rst assistant, 294, 324
of photography, 299, 323
second assistant, 294, 325
set, 308
directorial decisions, 15–16
Disney, Walt, 26f, 195
dissolve, 10, 37
diverse forms and content, 182–186
documentarian, 222–227
documentary, 187, 203, 211–213
contemporary, 232–233
economic considerations in, 231–232
ethics in, 221–222
fi ction vs., 213–215
observers in, 226–227
origins of, 218–220
structure in, 219–220
subject matter in, 229–230
time factors in, 230–231
dolly grip, 303, 324
dolly shot, 24, 37
Dreyer, Carl, 53
dynamic range, 89, 115E
economics, motion picture, 186–187
Edgerton, Nash, 290f, 313 f, 328–329
Edison, Th omas, 186
Edison Studios, 50–51
editing
contemporary, 315–316
defi nition of, 13, 37
development of, 58–63
eff ect of, 60–63
machinery, 58, 58f
match cuts in, 13f
non-linear, 58, 74
soft ware, 5
time in, 14–15
eff ects, early, 63
electric, 302–303emulsion, 48, 74
establishing shot, 61, 74
ethics, in documentaries, 221–222
executive producer, 293, 324
exposing colors, 147, 148f
exposition, 272, 282
exposure, 161
exposure index, 131, 161
extreme close-up (ECU), 7, 7f, 37
eyelines, 59, 74F
fade in, 11, 37
fade out, 11, 37
Farley, William, 190, 303f
feature length, 5, 37
Fellini, Federico, 294
fi ction, 187, 203, 212
documentary vs., 213–215
fi lm advance, 48f
fi lm plane, 127, 161
fi lm roll, 48–49, 75
fi lm stock, 125, 161
fi nal cuts, 170, 203
fi nancing, 185–185
fi rst assistant camera, 300, 324
fi rst assistant director, 294, 324
fl ags, 303, 324
fl at-bed editing machine, 58f, 59, 75
focal length, 126, 162
focus, 127, 135–137, 162
focusing device, 48f
focus pull, 11, 11f, 37, 137, 162
Foley eff ects, 93, 116
footage, 4, 37
foot-candles, 137, 162
Ford, John, 176
foreground, 22–23, 22f, 23 f, 38
forms
development of, 191–192
mixing of, 190–191
foundations, 232, 244
frame, moving, 23–25, 24f, 25 f
frames per second, 129–130, 162
f-stops, 128–129, 129f, 130 f, 162
full close-up, 7, 7f, 38
full shot, 9, 9fG
gaff er, 302, 324
gate, 129, 162
gels, 303, 324
genres, 191–192, 203
Glazer, Jonathan, 184
Goff , Kevin, 118–119Gondry, Michel, 182–184, 183f
grain, 123, 162
grants, 231, 244
greenlight, 294, 324
greenscreen, 310, 324
Grierson, John, 232
grip, 303, 324
Groves, George, 82f, 98 fH
hand-held, 24, 38
hard disk recording, 91, 116
Hawks, Howard, 176
head room, 7–8, 8f, 38
heliography, 48, 75
high-angle, 23, 23f, 38
Hitchcock, Alfred, 176, 177f, 251 f
Hoff mann, Deborah, 246–247
Hollywood, 176–179
horror, 191, 203
Horton, Andrew, 191f, 290 fII
illusion, 53, 308–311
improvisation, 250, 271–272, 282
incident light meter, 137, 162
independent production units, 174, 180–182
industrial model, 170–171
insert shot, 59, 75
inspiration, 266–268
intertitles, 99, 116
iris, 128–129, 129f, 162
Isaacs, John, 49
ISO rating, 131, 162
Ivens, Joris, 193J
Jackson, Peter, 314, 314f
Jaoui, Agnès, 170
Jarman, Derek, 196f
Jarmusch, Jim, 180, 269
Jonze, Spike, 184
Jost, Jon, 182
jump cut, 14–15, 38
jumping time, 14–15K
key grip, 303, 324
Kiarostami, Abbas, 185f
kinetograph, 51, 75
Kinetophone, 83
kinetoscope, 50f, 51, 75
Kopple, Barbara, 222
Kuleshov eff ect, 61, 61f, 75, 189
Kurosawa, Akira, 177Copyright 2010 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).