B0041VYHGW EBOK (215 page)

previsualization,
18
,
18

Prieto, Rodrigo,
246

Primary,
78
,
200
,
201
,
349
,
351

Primer,
89

Princess Mononoke,
385
,
386

Print Generation,
368
–369,
369

printer

contact,
10
,
10

optical,
173

process of,
9
–10

process shots,
180

producer

in pre-production,
18

tasks of,
16
–17

types of,
17

producer’s crew,
21

production.
see
film production

production accountant,
21

production assistants (PAs),
21

production designer,
18

production recordist,
20

production secretary,
21

production stills,
51
,
51

projection

digital,
40

front,
181
,
181

rear,
180

projector,
9
,
10

development of,
455

platter,
9
,
10

property master,
25

props,
123

Prospero’s Books,
191
,
192

prosumer cameras,
14

Protazanov, Yakov,
468

The Queen of Spades,
467

Providence,
297
–298

Psycho,
95
,
223
,
329
,
340
,
400

mobile framing in,
205
–206,
206

sound in,
274

Public Enemy,
188

publicist,
25

Pudovkin, V.I.

Deserter,
469

on editing,
468

Storm over Asia,
469
,
469

Pulp Fiction,
74
,
481

editing in,
227
,
227

narrative time in,
87

temporal order in,
85

Pummell, Simon,
385

puzzle films,
88
–89,
103

DVDs encouraging,
89

The Queen of Spades,
467

Queenan, Joe,
29

The Quiet Man,
100

Rachel Getting Married,
293

racking focus,
178

Raging Bull,
18
,
189
,
201
,
396
,
444
,
478

acting in,
440
–441

ambiguity in,
442

critical analysis of,
438
–442,
439
–442

flashbacks in,
440

narrative form in,
439
–441

parallelism in,
442

plot/story in,
440

POV shots in,
441
,
441

realism in,
440
–441

social ideology in,
438
–442

Steadicams in,
440

violence in,
438
,
440
–442

Raiders of the Lost Ark,
82
,
91
,
230

character traits in,
82
–83

Railroad Turnbridge,
368
,
368

Rainbow Dance,
169
,
169

Rainer, Yvonne,
Film About a Woman Who …,
100
,
366
,
367

Raising Arizona,
69
,
481
,
481

musical score in,
279

Rambling Rose,
479

Ramis, Harold,
Groundhog Day,
87
,
87
–88

ramping,
173

Rashomon,
136
,
137

Raw Deal,
98

Ray, Nicholas,
475

Ray, Satyajit,
474

Aparajito,
132
,
132

Reaching for the Moon,
98

Reagan, Ronald,
350

realism

in acting,
139
–140

mise-en-scene and,
118
–119

in
Raging Bull,
440
–441

special effects and,
183
,
186

rear projection,
180

Rear Window,
69

point-of-view cutting in,
244
,
245

Rebel Without a Cause,
158
–159,
159

Record of a Tenement Gentleman,
151
,
151

recording, dry,
276

The Red and the White,
204

Red Beard,
176
,
176

Red Eye,
45

Red Imps,
468

Red One,
14

Reed, Carol,
The Third Man,
194
,
195

reestablishing shot,
240

Reeves, Keanu,
130

referential meaning,
62
–63

Reflections on Black,
170
,
170

reframing,
203

Reggio, Godfrey.
see also Koyaanisqatsi

Koyaanisqatsi,
172
,
172
,
175
,
175
,
423

Powaqqatsi,
423

La Région centrale,
223

Reichardt, Kelly,
Wendy and Lucy,
121
,
121
,
255

Reimann, Walter,
462

Reiner, Carl,
Dead Men Don’t Wear Plaid,
232

Reiner, Rob,
This is Spinal Tap,
352

Reisz, Karel,
Morgan!,
201

release prints,
10
,
27

Rembrandt lighting,
459

Renoir, Jean.
see also Grand Illusion

The Crime of M. Lange,
62
,
62
,
65
,
204
,
204

Grand Illusion,
313

The Rules of the Game,
188
,
223

rentals,
34

repetition,
68

The Replacement Killers,
485

rerecording mixer,
26

Rescued by Rover,
459
,
459

Reservoir Dogs,
93
,
481

Resnais, Alain

La Guerre est finie,
202
,
203
,
260
–261

Hiroshima mon amour,
96
–97

Last Year at Marienbad,
204
,
261
,
262

Night and Fog,
228

Providence,
297
–298

Respighi,
279

restricted narration,
93

in
The Big Sleep,
96

in
Day Night Day Night,
97

Hitchcock on,
94
–95

rhetorical form

arguments from source in,
360

in documentary film,
359
–365

The River
and,
361
–365,
361
–365

subject-centered arguments in,
360

types of,
359
–360

viewer-centered arguments in,
360

rhythms

continuity editing, alternatives and,
256
–257

of dialogue in
His Girl Friday,
281

in editing,
230
–231

La Jetée
and sound,
283

in sound,
281
–283

in sound, disparities,
282
–283

Richardson, Tony,
Tom Jones,
477

Richter, Hans,
462

The Riddle of Lumen,
30

Riefenstahl, Leni,
Olympia,
353
–354,
354

Rien que les herues,
423

Rimmer, David,
Watching for the Queen,
151
,
151

Rio Bravo,
478

Ritchie, Guy,
Lock, Stock, and Two Smoking Barrels,
333

The River,
360
,
368

discontinuity editing in,
362
,
362

documentary film and,
361
–365,
361
–365

film style in,
363

motifs in,
365

narration in,
362
–364

rhetorical form as example of,
361
–365,
361
–365

segments in,
361

sound tracks in,
362

The River’s Edge,
296

Rivette, Jacques

Out One,
477

Paris Belongs to Us,
475
–477

The Road Warrior,
101
–102,
114
,
199
,
230

axis of action in,
246
,
246
–247

narration in,
100
–101

The Roaring Twenties,
254

Robbins, Tim,
Dead Man Walking,
313

The Rocky Horror Picture Show,
335

Rodriguez, Robert

El Mariachi,
29
–30,
481

Sin City,
15

Roeg, Nicholas,
Don’t Look Now,
174
,
174

Roger and Me,
82

factual reliability of,
350

Rogers, Ginger,
270
,
281
–282,
472

in musical films,
343
–345

Rohmer, Eric,
475

Full Moon over Paris,
477

Pauline at the Beach,
477

Röhrig, Walter,
462

Rolf, Tom,
276

A Romance of Happy Valley,
460

Rome Open City,
423
,
473
–474,
474

Romeo + Juliet,
257

Romero, George,
Dawn of the Dead,
340

Roosevelt, Franklin Delano,
365

Roosevelt, Theodore,
379
,
379

Rope,
69

long takes in,
214

Rossellini, Roberto

Germany Year Zero,
121
,
473
–474

Paisan,
473
–474

Rome Open City,
423
,
473
–474,
474

White Ship,
473

rotoscoping,
388
–389

Rouch, Jean,
Les Maîtres fous,
31