B0041VYHGW EBOK (218 page)

Tampopo,
123
,
124

editing in,
226
,
227

Tappy Toes,
366
,
367

Tarantino, Quentin.
see also Jackie Brown
;
Pulp Fiction

Jackie Brown,
286
–289,
333

Kill Bill, Vol.
1
,
180

Pulp Fiction,
74
,
85
,
481

Reservoir Dogs,
93
,
481

Tarkovsky, Andrei,
Stalker,
169
,
169

Tarnation,
16

Tati, Jacques.
see also Mr. Hulot’s Holiday
;
Play Time

editing of,
257
–258

Mon Oncle,
313
,
313

Mon Oncle d’Amérique,
257
,
258

Play Time,
123
,
156
,
156
,
198
,
199

sound effects and,
275

Tavernier, Bernard,
274

Taxi Driver,
440
,
478

Taymor, Julie,
Across the Universe,
343
,
343

Technicolor,
168

development of,
472

in
Meet Me in St. Louis,
433

telephoto lenses,
174
–175

in
Tootsie,
176
,
176

television

film exhibition on,
45
–47

film style influenced by,
45
–47

letterboxing on,
46

Stone on influence of,
230

widescreen,
47

temp dub,
26

temporal continuity,
248
–249,
254

in
The Maltese Falcon,
249
,
254

montage sequences and,
254

temporal discontinuity,
257
–262

temporal duration,
85
–86

temporal ellipsis,
254

temporal frequency,
86

temporal order,
84
–85

tentpole pictures,
36

Terminator,
257
,
479

Terminator
2
: Judgement Day,
26
,
479

La Terra Trema,
473
–474,
474

Testament of Dr. Mabuse,
463

theatrical exhibition,
38
–41

sound perspective in,
293
–294

Them!,
340

themes,
64

There’s Something About Mary,
329
,
334

They Were Expendable,
194

The Thin Blue Line,
352
,
352
–353,
396
,
444
–446

color motifs in,
430
–431

critical analysis of,
425
–431,
427
–430

explicit meaning in,
427

as film noir,
428
–429

film style in,
428

flashbacks in,
427

implicit meanings in,
428

musical score in,
428

narrative form in,
425

plot segmentation in,
426

reenactments in,
427
–428

The Thin Man,
45

The Thin Red Line,
199
,
274

third assistant director,
19

third man,
20

The Third Man,
194

framing in,
195

30° rule,
258
–259

35mm (film),
11
,
12

aspect ratios in,
188

HD compared to,
13
,
15

36th Chamber of Shaolin,
482

This is Spinal Tap,
352

Thoms, Randy,
274

Three Colors: Red,
312
–313

Three Kings,
157
,
157
,
482

The Three Musketeers,
460
,
460

Three Women,
479

3D cinema,
153
–154
300
,
335

three-point lighting,
134
–135

thrillers, crime,
332
–334

THX 1138,
128
,
129

Tigre Reale,
142
,
142

tilting,
199

timbre,
273
–274

time.
see
narrative time

time-lapse cinematography,
173

tinting,
169

Titanic,
28
,
46
,
479

To, Johnnie,
485

Tokyo Story,
396

ambiguity in,
417

axis of action in,
415

critical analysis of,
413
–417,
414
–417

elliptical editing in,
415
–416

film style in,
414
–415

match on action in,
416

mise-en-scene for,
414

narration in,
413
–414

narrative time in,
417

180° system in,
415
–416

screen space in,
416
–417

Toland, Gregg,
20
,
33
,
473

Tolkien, J. R. R.,
61

Tom Jones,
477

Tom Tom the Piper’s Son,
173

Tomorrow Never Dies,
38

tonal ranges.
see also
film stocks

cinematography and,
167
–171

manipulating,
170

toning,
169
–170

Tootsie,
148
,
148
,
175
,
175
,
254

narration in,
94

telephoto lenses in,
176
,
176

Top Hat,
344

top lighting,
136

Touch of Evil,
132
,
133

editing in,
227
,
227

long takes in,
216
,
217
,
218

The Toxic Avenger,
29

Toy Story,
385
,
385

tracking shots.
see
dolly shots

The Trail of the Lonesome Pine,
473

trailer,
37

Trauberg, Ilya,
China Express,
176

traveling matte,
181

Travolta, John,
344

treatment,
17

Troma Films,
29

Tron,
385

Trouble in Paradise,
142
,
144

Troy,
335

True Romance,
413

True Stories,
226
,
226
,
329

Truffaut, François,
3
,
90
,
96
,
461
.
see also Jules and Jim

The Bride Wore Black,
200

as critic,
475

Day for Night,
3
,
27
,
196

Fahrenheit
451
,
477

The
400
blows,
84
,
84
,
475
–477

The Green Room,
136
,
137

Jules and Jim,
98
,
100
,
261
,
280
–281

Les Mistons,
476

Shoot the Piano Player,
476

The Truman Show,
140
,
334

Trust,
481
,
481

Tsotsi,
35

Turko, Teresa,
425

Twelve Angry Men,
85
–86

23
rd Psalm Branch,
30

Twin Falls Idaho,
27

Two or Three Things I Know About Her,
292

Two Times in One Space,
366

2K resolution,
14
–15

2001: A Space Odyssey,
17
,
181
,
254
,
331

Tykwer, Tom,
Run Lola Run,
86
,
88
,
482

typecasting,
140
,
142
,
142

Ulee’s Gold,
30

Ulysses’ Gaze,
202
,
202
–203

Umberto D,
474

Uncle Tom’s Cabin,
331

Under a Texas Moon,
472

Under the Olive Trees,
192
–193,
193

underlighting,
136

Une chamber en ville,
188

unrestricted narration,
93

The Untouchables,
178
,
179

The Usual Suspects,
86
,
90
,
334
,
334

Vagabonde,
178

The Valiant Ones,
188
,
482

Valley Girl,
479

The Vampires,
123
,
123

van Peebles, Mario,
479

van Sant, Gus

Elephant,
90
,
214
,
214

Paranoid Park,
290

Varda, Agnès

The Gleaners and I,
178
,
179

Vagabonde,
178

variable-area,
11

Veidtm, Conrad,
144
,
145

La Verifica inserta,
367

Vertigo,
180
,
204

Vertov, Dziga,
467
.
see also Man with a Movie Camera

editing and,
231

Enthusiasm,
469

Kino-Pravda,
468

Man with a Movie Camera,
172
,
350
,
350
,
396

Vidas Secas,
170
,
170

video assist,
25

Vidor, King,
460

Vigo, Jean,
467

da Vinci, Leonardo,
3

Viper camera,
16

Visconti, Luchino,
La Terra Trema,
473
–474,
474

visual-effects supervisor,
21

visual-effects unit,
21

Viva Zapata!,
313

Volante, Tony,
293

Volkoff, Alexandre,
Kean,
257

von Sternberg, Josef,
131

Shanghai Express,
133

von Stroheim, Erich,
121
,
123

Greed,
200

von Trier, Lars

Breaking the Waves,
168
,
168
,
170
,
482

Dancer in the Dark,
15
,
22

W.,
352

Waddell, Hugh,
275

Waiting to Exhale,
37

Wajda, Andrej

Ashes and Diamonds,
154

Kanal,
136
,
136