showing, vs.telling 14–16
sign posting 35
signs, words and shots 87–88
slow motion 120, 122
social event, film as 12–13
society, and creativity 139–140
sole creativity 107
soul 140
sound: and imagery 3–4; manipulation of 110
space distortion 91
spatial realism 38–39
spoon-feeding 104
Stanislavsky, Konstantin 107
Stevenson, Robert Louis 35
straight-on close shots 38
structural approach 34–35
style 22
Sunrise 39–40
Swain, Mack 19–20; photo 21
symbolism 40, 97
syntax 22, 130
talent 138
Tatum, Art 50
technical innovation 71, 139
technical manipulation, and collaborative creativity 110
technique 22–31; angles 27; background 25; bits and pieces shooting 56–57; close shots 23, 26, 62–67; close-ups 28–29, 72–74, 93; continuous moving shot 48–49; dissolves 49; dolly shots 43; establishing shots 23, 25, 26, 38; fade-ins 49; figures 28; filling/squeezing frame 29, 30; full shots 23, 25, 41, 43; group shots 27–28; interior long shots 25; intra-sequence cutting 38, 39; long shots 23, 25, 95; master shots 26, 54, 56, 57–60; mastery of 22; medium shots 26, 27, 41, 43; mood-building shots 59; moving master shots 43, 59–60; musicals 60; opening shots 26, 49; overcranking 120; over shoulder (O.S.) shots 28, 67–69, 93; point of view (POV) 59–60; profile two shot 28; sequence shots 34–35, 38, 39, 59–60; set-ups 22–23; slow motion 120, 122; straight-on close shots 38; and technical development 26; undercranking 119
telescopic lenses 89
temporal realism 38–39, 115, 116, 123, 135–136
theatricality: and cinema 61–62; emphasis on dialogue 134
The Caine Mutiny 99; photos 94, 100
The Carpetbaggers, separation of characters 73
The Cat People 59
The General Line 62–63
The Gold Rush 19–20; photo 21
The Informer 88
The Mountain, photo 109
The Reluctant Saint 14–16
The Rope 27
The Verdict 102–104
The Young Lions 54, 118; analysis 67–69; photo 52, 75; separation of characters 74–78
theories, of film editing 129–130
theories of film 62
Theory of Film (Kracauer) 37
tight groups 27
time 115–124; delay 123; dream sequences 122–123; estimation of 120; exposure and projection rates 116; extension 120; fight scenes 120–121; Greystoke, The Legend of Tarzan 117; gunfight at the O.K. Corral 122–123; manipulation of 119; in-the-meantime 123; and pacing 116, 118; postponement 123–124; and situation 115–116; slow motion 120, 122; and story development 118–119; subjectivity of 115–116, 118, 119; temporal realism 115, 116; truncation 119–120; undercranking 119; variations 119; Witness 123–124; The Young Lions 118
time lapse 119–120
timing: and cutting 48–49, 132–133; role of film editor 127
transposition 98
tricks of concealment 45–46
Truffaut, François 58
trust 19
undercranking 119
viewers 11–16; and changing conventions 71; emotion and involvement 20, 22; engagement 72–74; as focus of decision making 11; importance of 6; as incentive 11–12; interpretation 98, 104; levels of understanding 3–4; maintaining engagement 37–38; manipulating attention 48–49; manipulation of perspective 43; motivation 12–13; observation points 27; point of view (POV) 35; reaction speeds 127, 133; response times 39; sophistication 26; trust 19
visions, multiple 128
visual dysfunction 71
vitality 62
Wayne, John 41
Welles, Orson 39, 56, 57, 82
wide angle lens 91, 92–93
Wilder, Billy 40
Wilhelm, Wolfgang 12
Witness 123–124
words: as first step 97–98; increasing dominance 4; as signs 87–88
writers’ perspective 22
“Wyatt Earp” 122