B0041VYHGW EBOK (208 page)

film subgenres

fantasies of displacement,
334

gross-out films,
334

heist films,
333

of horror films,
342

magical comedies,
334

filmstrips,
11
,
12
,
13

filters,
170
–171

final cut,
24

financing in film production,
16
–17

Fincher, David

The Curious Case of Benjamin Button,
25
–26

Fight Club,
482

Panic Room,
332
,
332

Se7en,
194
,
332

Zodiac,
285

Finye,
124
,
127

Fire!,
459

Fires Were Started,
350
,
350

first assistant director (AD),
19

Fisher, Carrie,
143

Fist Fight,
256
,
256
,
366

Fitzhamon, Lewin,
Rescued by Rover,
459
,
459

Five Star Final,
104

flashbacks,
233

in
Citizen Kane,
107
,
109
,
112
,
321

in editing,
233

in
Hiroshima mon amour,
233
,
233

in
The Prestige,
302
–303

in
Raging Bull,
440

in
The Thin Blue Line,
427

tradition of,
109

flash-forward,
233

sound,
297

Flirting with Disaster,
482

Flowers of Shanghai,
45

The Fly,
130
,
131
,
479

focal length,
174
–175

focus,
177
.
see also
deep focus cinematography

lenses and,
177
–178

racking,
178

selective,
178

The Fog of War,
351

foley artist,
24

following shot,
203

Folman, Ari,
Waltz with Bashir,
382
,
382

Fonda, Henry,
142
–143,
143

Fong, Allen,
483

Footlight Parade,
231

For a Fistful of Dollars,
335
–336

Ford, John,
33
.
see also Stagecoach

How Green Was My Valley,
273
,
296

The Quiet Man,
100

The Searchers,
171
,
339
,
339

She Wore a Yellow Ribbon,
118
,
119
,
282

Stagecoach,
246
,
247
,
290

Straight Shooting,
338
–339,
339

The Western and,
338
–339,
339

Young Mr. Lincoln,
151
,
152

form.
see
film form

Forrest Gump,
479

42nd Street,
156
,
156
,
231
,
343
,
343

Foster, Jodie,
199
,
224

found-footage films,
366

Four Eyed Monsters,
32

Four Nights of a Dreamer,
282
–283

4K resolution,
14
–15

The
400
blows,
84
,
84
,
475
–477

Fox Film Corporation,
458

Foxx, Jamie,
4

frame enlargements,
51
,
51

frame mobility.
see
mobile framing

frames,
8

early cinema and rates of,
9

per second,
172

framing,
186
.
see also
aspect ratio; mobile framing

angle in,
194

in cinematography,
186
–212

in
Citizen Kane,
196
,
196

dimensions of,
186
–187,
189
–191

distance and,
195
–196

functions of,
196
–198

Hawks on,
196

height in,
194

level in,
194

in
The Maltese Falcon,
196
,
197

in
North by Northwest,
196
,
196

in
October,
196
,
196

offscreen space in,
191
–193

in
Our Hospitality,
198

Ozu and,
194

in
La Passion de Jeanne d’Arc,
198
,
198

in
Play Time,
198
,
199

in
The Third Man,
195

Frampton, Hollis,
366

Lemon,
131

Zorns Lemma,
60

Frank Film,
383
,
383

Frankenstein,
340
–341,
471

Freak Orlando,
125
,
127

French impressionist cinema,
463
–466

French New Wave,
475
–477.
see also Breathless; The
400
blows
; Godard, Jean-Luc; Truffaut, François

ambiguity in,
477

cinematography in,
476

French surrealist cinema,
466
–467

frequency,
86

Friedkin, William,
The Exorcist,
276
,
330
,
330
,
342
,
478

Friedrich, Su,
Damned If You Don’t,
366

From Dusk Till Dawn,
333

front projection,
181
,
181

frontal lighting,
136

frontality

in
L’Avventura,
158

in
Rebel Without a Cause,
158
–159,
159

The Fugitive,
182
,
293

Fuji,
366
,
382
,
388
–389

as experimental/animated film,
388
–390

rotoscoping used in,
388
–389

full animation,
383

full frame format,
46

Full Moon over Paris,
477

Fuller, Samuel,
475

The Naked Kiss,
201

Fury,
197
,
197
,
259

gaffer,
20

Galapagos,
351

Galeta, Ivan,
Two Times in One Space,
366

Gallardo, Carlos,
30

Gance, Abel

L’Argent,
465
,
465

Napoleon,
187
,
187
,
465

La Roue,
191
,
191
,
257
,
465

Gap-Toothed Women,
354
–358,
444
–445

categorical form in,
354
–359

in documentary film,
354
–359

film style in,
355

motifs in,
356

Garlic Is as Good as Ten Mothers,
354

Gas Food Lodging,
480

Gaudreault, André,
458

gauge.
see
film gauge

Gehr, Ernie,
Serene Velocity,
177
,
177

genre.
see
film genre

Geography of the Body,
366
,
367

German Expressionist Cinema,
461
–463.
see also The Cabinet of Dr. Caligari

Germany Year Zero,
121
,
473
–474

Ghost,
102

Ghostbusters,
188

Ghosts Before Breakfast,
462

Gladiator,
22
,
335

Glass, Phillip,
428

The Gleaners and I,
178
,
179

Glen, John,
234

Go,
87

goal-oriented plot,
91

Godard, Jean-Luc,
46
.
see also Breathless

Breathless,
60
,
145
,
145
,
334
,
396
,
400
,
445
–446,
475
–477

Les Carabiniers,
168
,
168
,
476

La Chinoise,
132
,
132
,
152
,
154
,
259
,
259

Contempt,
297
,
477

as critic,
475

Detective,
47

Hail Mary,
477

Passion,
133
,
477

Pierrot le fou,
261
,
261

Two or Three Things I Know About Her,
292

The Godfather,
278
,
329
,
335
,
352
,
478

Brando’s performance in,
140

flash-forwards in,
233
,
234

sound mixing in,
277
–278

The Godfather Part III,
130

Gold Diggers,
337

The Golden Compass,
137
,
137

Golden Harvest,
482

Goldfinger,
99
,
99

Goldman, William,
57

Gondry, Michel,
367

Gone With the Wind,
58
,
118

The Good, the Bad, and the Ugly,
58
,
338
,
339

The Good Earth,
471

Goofy,
383

Gosling, Maureen,
354

The Graduate,
175

Grand Illusion,
313

dolly shots in,
208
–210

film style in,
315

mobile framing in,
207
–211,
207
–211

graphic artist,
18

graphic match,
226
,
226

graphic relations,
225
–229

The Great K & A Train Robbery,
335

The Great Train Robbery,
459
,
459

Greed,
121
,
122
,
200

The Green Room,
136
,
137

Greenaway, Peter

T
he Draughtsman’s Contract,
150
,
151

The Falls,
368

Prospero’s Books,
191
,
192