B0041VYHGW EBOK (213 page)

musical score in,
376
–379

patterns in,
381

Pines of Rome
’s influence on,
376
–377,
379
–380

repetition/variation in,
381

sound track in,
279

Mozhukin, Ivan,
467

MPPC.
see
Motion Picture Patents Company

Mr. Arkadin,
194

Mr. Hulot’s Holiday,
91
,
92

sound in,
275
,
275
–276,
283
–284

Mulholland Drive,
334

multiple-frame.
see
split-screen imagery

The Mummy,
341
,
341

Murch, Walter,
26

on sound perspective,
292

Murdoch, Rupert,
35

Murnau, F.W.

Faust,
463

Nosferatu,
172
,
341
,
341

Murphy, Dudley,
Ballet mécanique,
256
,
366
.
see also Ballet mécanique

Murphy, J.J.,
368

Print Generation,
368
–369,
369

Murray, Bill,
87

music videos,
367

musical films,
342
–345

animated films as,
344

Astaire in,
343
–345

“backstage,”343

conventions in,
343
–344

plot in,
343

as revues,
342

Rogers in,
343
–345

“straight,”343

musical score

in
Citizen Kane,
324
–325

in
Collateral,
7
–8

Demme on,
280

Jules and Jim
motifs in,
279

Lynch on,
277

in
Meet Me in St. Louis,
434

in
A Movie,
376
–379

in
The Prestige,
300
–301

in
Raising Arizona,
279

story and,
7
–8

in
The Thin Blue Line,
428

Musketeers of Pig Alley,
192
,
193

The Mutoscope machine,
9
,
9

Muybridge, Eadweard,
455

My Big Fat Greek Wedding,
37

My Hustler,
long takes in,
213
–214,
214

My Man Godfrey,
68
,
68

cause and effect in,
83

mystery pattern

in
Citizen Kane,
110

in
The Wizard of Oz,
72

mythologicals
genre,
328

The Naked City,
423

The Naked Gun,
293

The Naked Kiss,
201

Naniwa Elegy,
159
,
159

Napoleon,
187
,
187
,
465

narration,
93

in
The Big Sleep,
93
–94

in
The Birth of a Nation,
93
–94

in
Citizen Kane,
112
–114,
322
–323

in classical Hollywood cinema,
103
–104

in credit sequences,
98
–99

depth of information in,
95
–97

hierarchy of knowledge in,
94

in
Meet Me in St. Louis,
433

narrators in,
97
,
100

objectivity in,
95
–97

omniscient,
96

in
Our Hospitality,
160

POV shots and,
95

in
The Prestige,
300
,
304
–306

range of information in,
93
–95

restricted,
93

in
The River,
362
–364

in
The Road Warrior,
100
–101

subjectivity in,
95

in
Tokyo Story,
413
–414

in
Tootsie,
94

unrestricted,
93

narrative form,
55
,
78
.
see also
cause and effect; classical Hollywood cinema; plot; story

animated film and,
386
–388

in
Breathless,
411

cause and effect in,
82
–84

character traits as part of,
82

in
Chungking Express,
418
–419

in
Citizen Kane,
104
–114

in classical Hollywood cinema,
102
–104

definition of,
79
–80

in
Do The Right Thing,
406
–407

Duck Amuck,
386
–388

early cinema, development of,
457
–460

exposition in,
90

Man with a Movie Camera
opposing,
424

narrative time as factor in,
84
–86

in
North by Northwest,
80
,
80
,
401
–402

in
Our Hospitality,
460

of Ozu,
413

plot in,
80
–82

in
Raging Bull,
439
–441

space in,
86
,
90

story in,
80
–82

surprise ending in,
78
–79

in
The Thin Blue Line,
425

in
Wavelength,
211

in
The Wizard of Oz,
57

narrative time

in
Back to the Future,
88

in
Citizen Kane,
107
–109

duration in,
85
–86

frequency in,
86

in
His Girl Friday,
398
–399

mise-en-scene and,
155
–159

mobile framing and,
205

narrative form and,
84
–86

order and,
84
–85

in
Out of Sight,
87

in
Pulp Fiction,
87

sound and,
294
–298

in
Tokyo Story,
417

narrators,
97
,
100

The Narrow Trail,
460

Nashville,
479

nature documentary film,
351

negative cost,
17

negative prints,
9

Neighbors,
384

Neorealism cinema,
473
–474

NEP.
see
New Economic Policy

New Economic Policy (NEP),
468

New Hollywood cinema.
see also
Allen, Woody; Altman, Robert; Bogdanovich, Peter; Coppola, Francis Ford; De Palma, Brian; Friedkin, William; Hopper, Dennis; Lucas, George; Scorcese, Martin; Spielberg, Steven

continuity editing in,
480

independent film production within,
477
–482

social ideology in,
478

New Jack City,
479

The Nibelungen,
462

Niblo, Fred,
The Three Musketeers,
460
,
460

Nichols, Mike,
The Graduate,
175

Night and Fog,
228

The Night of the Shooting Stars,
128
,
129

night shoots,
5

The Nightmare Before Christmas,
384
,
384

Nights of Cabiria,
136
,
137

No Country for Old Men,
diegetic sound in,
285

No Lies,
352

Nolan, Christopher.
see also The Prestige

Memento,
88
–89

The Prestige,
79
,
302
,
306
–307,
313
,
446

Nolan, Jonathan,
298

noncharacter narrator,
100

nondiegetic elements,
80

in
The Band Wagon,
81
,
81

nondiegetic insert,
259

nondiegetic sound,
284

diegetic sound v.,
284
–285,
291
–292

in
Le Million,
284

temporal relation to,
297
–298

nonlinear systems,
24

nonsimultaneous sound,
295

nontheatrical exhibition,
38

on internet,
42

Kino movement,
43

North by Northwest,
95
,
95
,
329
,
404
,
443
–446

critical analysis of,
400
–404,
401
,
403
–404

crosscutting in,
402

framing in,
196
,
196

journey pattern in,
91
–92

line of action in,
400
,
402
–403

motifs in,
401

narrative form in,
80
,
80
,
401
–402

plot of,
80
–81,
92
–93,
400
–401

POV shots in,
401
–404

temporal duration in,
85

Nosferatu,
172
,
341
,
341

Not Reconciled,
103

Notorious,
400

Notting Hill,
123
,
213

Nous la liberté,
231

Nuñez, Victor,
Ulee’s Gold,
30

O Brother, Where Art Thou?,
335

Oates, Joyce Carroll,
331

That Obscure Object of Desire,
82

Obsession,
478

Ocean’s
11
,
333

O’Connor, Sandra Day,
358

October,
60
,
102
,
234
,
313
–314

discontinuity editing in,
262
–265,
263
–264

framing in,
196
,
196

temporal duration in,
86

Odyssey
(Homer),
61

off-center linear perspective,
153

offscreen space

in
Duck Amuck,
387
–388

framing and,
191
–193