Index
Note: when the text is within a table or figure, the number span is in bold.
accelerated motion see motion
A Clockwork Orange 130
A Day in the Country 231
Aesthetics and Psychology of Cinema, The 262
American New Wave 96
An anagram of ideas on art, form and film 250
analytical editing 19–21, 38, 74, 169, 208, 225, 231, 233
Anderson, Wes 27–29, 66–68, 283–284
Andrei Rublev 240
Andrew, Dudley 155, 208, 211, 235, 262
Antonioni, Michelangelo 46, 277–278, 290
Arnheim, Rudolf 1–4, 42, 133, 191, 206, 271
Aronofsky, Darren 110–112, 130–131
Arrival of a Train at La Ciotat 242
artificially produced representation of movement 166–168
artistic image see obraz
Attraction 155, 160, 163–165, 169, 171–172, 186, 187, 191
average shot length (ASL) 136, 140, 176, 244, 280, 309–310; decrease in 64–67
axis of action 19, 20–21, 23, 24, 74
Ballet Mècanique 109
ballistic balletics 132
Battleship Potemkin 146–147, 160–163, 166, 176, 182, 190, 290
Baudelaire, Charles 212
Bazin, André 106; on De Sica and Bicycle Thieves 215–222; early life, philosophical Influences and ciné clubs 207–209; and realism 206–233; on Renoir 230–233; on Rossellini and Paisan 212–215; theorizing film 209–212; on Welles and Citizen Kane 222–228; on Welles and Magnificent Ambersons 228–230
Beauty and the Beast 134
Beetlejuice 289
Bergson, Henri 208, 235, 240, 242–243
blink theory of editing 87–89, 91, 93, 94–96
Bonnie and Clyde 101, 132, 136, 137
Bordwell, David 18, 21, 28, 45, 46, 54, 58, 74, 96, 152, 166, 171, 189, 192, 200, 206, 265, 304, 305; and canonic Hollywood narration 103–196; and the narrative functions of continuity editing 99–134; and intensified continuity 138–141; neoformalism versus interpretation 100
Breathless (À boute de souffle) 65–67
brightness 171, 231, 287–289, 304
Burch, Noël 45–82, 99, 105, 114, 118, 124, 301; découpage and matrix 57–60; IMR Versus PMR 46–48; matrix 59; matrix applied to Welles and Scorsese 77–82
Cahiers du Cinema 45, 57, 206, 207, 214, 215, 222, 233
canonic Hollywood narration 103–106
canonic story 101
carry over dissolve 69–70, 306
Cartesian coordinate system 5, 305
cause and effect 101–105, 139, 141, 157, 266
center of interest 265
Chaplin, Charles 189, 210, 233
ciné-clubs 208
Citizen Kane 3, 77–79, 106–107, 125, 157, 211, 215, 222–228, 234, 269–270, 276–277
classical Hollywood style 96–97, 100, 105, 140–141, 260, 298
collision montage 109, 155, 160–161, 163, 240, 266–267
conflict 147, 151, 155, 160, 165–168, 171, 175, 178–180, 183, 185–189, 191, 267, 268–269
constructive editing 39, 153, 268
constructivism 147
continuity editing 10, 41–42, 45–47, 64, 74, 77, 97, 105, 138, 141, 179, 211, 239, 257, 258, 260–261
contrast (level, ratio, range) 231, 285, 287, 289
converging motion vectors 25–27
Coppola, Francis Ford 75–76, 93, 115, 165, 280
corporeal imagination 262
creating an event 37
crosscutting (parallel editing) 57, 75–76, 114–118, 127, 153–154, 252
cut in 14
Découpage 57–58, 13, 207, 211–213, 231, 233, 243, 247
découpage in depth 224–226, 230
deductive sequencing 19, 35, 38–41, 42, 99
Deren, Maya (Eleanora Derenkowsky) 46, 133, 238–239, 249–257; and Meshes of the Afternoon 251–257
desaturation 289
The Devil Wears Prada 139
discontinuity 10–11, 59, 74–75, 77, 95, 127, 129, 133
dissolve 64, 69–70, 77–79, 92, 103, 105, 115, 121, 129, 131, 156, 175, 183, 223, 216, 264, 278, 292–296, 298–299, 302, 306, 310
Divine horsemen: the living Gods of Haiti 250
Dmytryk, Edward 86–92; Six Rules for The Ideal Cut 87–93
dolly zoom 267
dominant: in Eisenstein’s theory 171–175, 183–185, 194–195, 260; vector 9, 24, 28
duration: fabula/story 125, of narrative events 55, 64, 65, 87, 99, 100, 105, 110, 124–134; of narrative events, compressed 127, 129–131; of narrative events, equivalence 126–128; of narrative events, elided 127, 128–129; syuzhet/plot125, screen 125
Eames, Charles and Ray 109
Edison catalog 50–52, studios 48–49
Eisenstein, Sergei Mikhailovich 45, 66, 109, 123, 131, 206, 207, 240, 250, 251, 260, 262, 265–66, 267, 269, 290–291, 310; contemporaries 146–150; early theorizing 163–169; later work 189–198; and montage 146
elliptical editing 34, 64, 275
emotion 10, 36, 37, 42, 57, 60, 93–94, 150, 153, 156–158, 164, 166, 169, 171, 172, 243, 265, 267, 287
event complexity 37
event intensification 36
excess 102
exit/entrance cut 89
expansion by dilation 127, 133; expansion by insertion 127, 131–132
explicitly presented event 101–102, 104
external rhythm (tertiary motion): 175–176, 262, 264, 311; and average shot length 264–268; and fades 296–298; and dissolves 293–296; and iris 302–304; modification by transitions 292–293; and music 264; and wipes 298–302
eye-line 11, 14, 17, 19, 47, 75, 141, 169, 254, 256
eye-trace (eye-guiding) 93–94, 260, 103, 105, 113, 119, 131
fabula see story
facture 147
fade 33, 78–79, 103, 175, 195, 206, 230, 261, 264, 267, 292–294, 296–298, 302, 303–304
fast motion see motion
Ferris Bueller’s Day Off 28–29
figure of style 18, 27–28, 115, 119, 123, 254, 306
film style 45, 97, 102, 140, 141, 152, 200, 206, 211, 233–234
Final Cut Pro 96
flashback 60–64, 68, 102, 105, 113, 118–121, 124
formalism 57
formalizing function of the frame 3
frame as window 4
Frankenheimer, John 109–110, 296
freeze frame 78–80, 114, 148, 310
frequency of narrative events 99, 100, 105, 122–124, 192
full shutter 284
gaps: narrative 122; diffuse versus focused 128; flaunted versus suppressed 128, temporary versus permanent 129 gestalt: 148; psychology 1–2, 4, 94
The Getaway 21
“Gods” sequence 187
The Grand Illusion 227
graphic: design 108; editing 260, mass 166, 195, 280; match 87, 261, 296, 305–11; mismatch 66, 177, 261; pattern 110, 152, 171, 185, 193, 198, 199, 292, 299; relations in editing 304–311; representation of a phone conversation 56; vector 5–6, 9, 10–13, 261; transition 298, 301; violence 132
graphicate/graphication 41, 298, 299
Groundhog Day 123
Hackenschmied (Hammid), Alexandr 250–251
hand-on-fire 244
Hawks, Howard 132
head-on, tail-away 33
high angle shot 123, 138, 160, 266, 268, 276–279
high key lighting 103, 289, 306
His Girl Friday 132
Hollywood continuity 41, 54, 93, 138, 229
Hollywood style 82, 97, 102, 103, 104, 119, 141, 264
House Un-American Activities Committee (HUAC) 86
How Green Was My Valley 106–108, 112
in camera wipe/wipe by cut 138–139
index vector 6–7, 9, 10–11, 14–21, 24–29, 74, 305
inductive sequencing 38–42, 99, 290
Institutional Mode of Representation (IMR) 45–46, 56, 77, 82, 211
Intensified Continuity 138–141
internal rhythm: 175–176, 238, 262–263; and camera movement 281–287; and camera placement 276–280; and color 287–290; factors that control 269–292; and lens usage 271–276; and pattern of movement 271–276; and repeated forms 290–292; and scope of the shot 280–281; and tempo of the action 270–271; and time pressure 239–241, 257
invisible style 64, 86, 88, 97, 103, 152, 292, 305
iris 36, 287–288, 292, 294, 296, 298, 302–304
Italian neorealism 211, 215–216
izobrazhenie (proper depictions) 191
Jaws 138
Jerry McGuire 140
jump cut 65–68, 81, 129, 139, 250, 254, 255, 268, 275
kabuki theatre 318
Keaton, Buster 28, 69, 209, 305, 306
Kerensky, Alexander 172–173, 187–188
Kuleshov, Lev 147–149, 151, 152
Kurosawa, Akira 134–136, 300–301, 306–308, 310
La La Land 123
last minute rescue 57, 75, 115, 131
The Last Temptation of Christ 129
le caméra-stylo 214
leit-motif 154
Lewis, Sinclair 189
Life of an American Fireman 52–56
linear motif 195
Lonedale Operator 172
The Lonely Villa 57
Looking into an Event 35
Lost Highway 113
low angle shot 160, 223, 268, 270, 276, 277
Lucy 255
Lynch, David 113
The Magnificent Ambersons 228–229
The Man Who Shot Liberty Valance 119, 123
The Man with a Movie Camera 109, 133, 134, 148
match on action 87
The Matrix 137
matrix of spatial/temporal articulations 59; applied to Wells and Scorsese 77–82
Méliès, Georges 208, 239, 254, 255, 258
Meshes of the Afternoon 250, 251–257
Meyerhold, Vsevolod I. 146, 163, 190
mise-en-scène 45, 58, 102, 125, 224, 229, 230, 241, 249, 260, 263, 269, 283, 284, 289, 305, 306, 308
Mission Impossible 2 60, 61, 89
Mitry, Jean 108, 109, 262, 263, 280, 293
Montage: accelerated 172; Hollywood 105, 156–157, idea associative collision 160–161, idea associative comparison 158–160; intellectual 160–172; melodic 193; metric 172–175, 182, 185, 186, 187, 192, overtonal 183–186; rhythmic 173–181, 182, 184, 185; Six Usages of the Word 155, sectional analytical 157–158; sequential analytical 156; symbolism 154; tonal 182–185; vertical 191–199
Moonrise Kingdom 27–30, 283–284
motif 81, 113, 119, 152, 154, 160, 172, 173, 185–187, 193, 194–198
motion: accelerated/fast 130–131, 133, 148; primary 4, 263–264, 269–270, 271, 273, 274, 275, 278, 280, 281, 283, 284, 285, 286, 288, 290, 298, 300, 310; secondary 4, 264, 269; slow/dilation 60, 71, 74, 115, 123, 124, 127, 131–133, 148; slow for violence 134–137; slow usage by Deren 250–254; slow usage by Tarkovsky 244–249; tertiary motion/external rhythm 4, 264, 301, 126, 137, 152
Motion Picture Production Code (Hays Code) 136
motor imitative response 131, 164, 169, 265
movement of events 265
Murch, Walter 86, 89, 99, 138, 260, 274; and blink theory 94–96; Hollywood theorist 93–96
Music, internal or external rhythm 264
narration 48, 50, 54, 97, 99–104, 114, 118, 119, 122, 124, 138, 141, 152, 165
neoformalism 100
non-diegetic insert 170, 172, 173, 187, 188
non-diegetic information 102, 104
obraz/artistic image 191
observational documentary 35
Occurrence at Owl Creek Bridge 33
October: Ten Days that Shook the World 123, 158–159, 166–169, 172, 174–175, 185, 188, 189
Odessa steps 160, 161, 166, 168, 176–181
off screen space 10, 11, 28, 38, 47
The Old and the New (The General Line) 172, 185, 186
oneiric 238, 239, 244, 247, 251
order of narrative events 99, 100, 103, 105, 106–122
overlapping cut 90
overlapping sound 118
over-the-shoulder shot 16–18, 20–21, 23–24, 29, 74, 77
pace 96, 125, 140–141, 150, 175, 199, 223, 239, 258, 261–262, 264, 265–266, 270, 273, 279, 283
parallel editing see crosscutting
The Passion of Joan of Arc 36
personalism 210
perspective in painting 45, 97, 209, 228
phototropic 289
physical movement 265
Piaget, Jean 192
plan-américain 132
plastic material/objective correlative 150, 151, 192, 275
plastic rhythm 262, 270, 271, 290–292, 296
plot/syhuzet 37, 57, 63, 71, 75, 101–102, 104, 105, 115, 122, 125, 215, 241, 251, 311
la politique des auteurs 214–215
Porter, Edwin S. 109, 206; and the PMR 48–57
primacy effect 122
Primitive Mode of Representation (PMR) 46–50, 76, 82
pro-filmic 54
programmed temporal form 99, 104
protagonist 78, 102, 104, 105, 154, 215, 272, 292, 297; mass 152, 185
proxemics 274
Pudovkin, Vsevolod I. 147, 148, 149–155, 190, 214
¡Que Viva Mexico! 189
Rear Window 128
recounted enactment 113, 119–120, 122, 124
re-establish 19, 23, 24, 74, 151, 252
Renoir, Jean 210, 215, 227, 228, 230; Bazin on 230–234
Requiem for a Dream 110–112, 130–131
rhythm see external and internal rhythm
rhythmic prose 263
rhythmic relations in editing 260–264
The Rules of the Game 230, 233
Salesman 35
Sartre, Jean-Paul 210
Scarface 33
Schoonmaker, Thelma 266
Scorsese, Martin 77–81, 123, 129, 262–268, 280–281, 287–288
screen resolution 41
screen space 1–6, 9–11, 28, 35, 38
seizing the spectator 163
selective focus 273
Selznick, David O. 146
Seven Chances 69
The Seven Samurai 134–135, 137
The Shop Around the Corner 18–19
shot-reverse shot 17–18, 23, 25 138, 228
shroud of Turin 210
single image displacement 110–11
Six Rules for the Ideal Cut 87
Sleep 127
slow motion see motion
Slow TV: Train Ride Bergen to Oslo 127
Spatial articulations see also temporal articulations: spatial continuity 59, 60, 94, 74, spatial discontinuity proximate 59, 74, 75, 77; spatial discontinuity radical 59
Spielberg, Steven 138, 165, 284–287
Stalin, Joseph 149, 165, 185, 189–190, 194, 240
Standard Version of film’s stylistic history 206
stop-motion substitution 254–257
story/fabula 102–106 109, 118, 122–123, 125–126, 127, 129–130, 131, 133s; construction 101
suprasegmental 293
syuzhet see plot
tableau vivant 51
Tarkovsky, Andrei 238–249, 257, 261, 264; and time pressure 240–249;
techné 147
telephoto lens 137–138, 175, 272–274, 308
temporal: continuity 59, 60, 64; ellipsis indefinite 59, 69, 78–79; ellipsis measurable 59, 68, 81; reversal, flaunted 113, ellipsis, flaunted 129, 228; reversal indefinite 59, 63, 77, 78; reversal measurable 59, 62; expansion 127, 128, 131, 132, 133, 134; order of narrative events 106
temporal articulations see also spatial articulations: quasi-simultaneity 47; simultaneity 57, 109, 114, 118, 154; simultaneous events, simultaneous presentation 106–113; successive events, simultaneous presentation 113–114; simultaneous events, successive presentation 114–118; successive events, successive presentation 118–122
Theory of Film Practice 57, 82
Thermotropic 289
30° rule 261
The Thomas Crown Affair 137 300 137
Time: bullet 137; duration/actual time (French: durée) 242–243; clock/conceptual
Tinker Tailor Soldier Spy 273–274
Toland, Gregg 106, 223–224, 227–229
transference of reality 210
trick-film 254
Truffaut, François 80, 215, 222, 230
two pop 38
vectors: 1–28; continuing 12, 14, 16, 23, 24, 25, 28, 29, 31, 32, 39; field 6, 9–11, 28, 31, 38, 26; converging 17, 18, 20, 24, 25, 26, 27, 28, 29, 30
veil of Veronica 210
Vertov, Dziga 109, 133, 134, 147, 148, 165, 265
The Wild Bunch 158
wipe 33, 113, 138–139, 175, 218, 233, 244, 245, 264, 292, 293, 294, 298–302
x-axis 5, 6, 9, 13, 28–30, 31, 32, 47
Zavattini, Cesare 215
zero magnitude 31
zero point of cinematic style 260, 261
Zettl, Herbert 1–6, 9, 11, 19 28, 29, 35, 38, 41, 42; approaches to building screen Space 1–10; building screen space 38–41; continuity and discontinuity of graphic vectors and index vectors 10–19; deductive versus inductive approaches 41–42; looking at, looking into, creating an event 35–38; motion vectors continuing and converging 24–28; special case of continuity with Z-axis vectors 28–35; screen resolution 42
zoom lens 138