L’ABC du cinéma (1917–1921) (Cendrars, 1926)
Abel, Richard
About the Marionette Theater (Kleist, Über das Marionettentheater 1810)
Abruzzese, Alberto
absolute film, abstract impressions in
Action Photoplay
actors, actresses; acting of; Benjamin on; intent of; movements of; Pirandello on; portraits of; stardom and; system of. See also names of individual actors
aesthetic, aesthetics; communicative and; film and; innate sense of; oblivion and
agent, agency; in age of machine; subjectivity of gaze and
Allen, Woody, Purple Rose of Cairo
Allendy, Dr. René; “The Psychological Value of the Image,”
Altman, Rick
The Ambassadors (Henry James, 1903)
American cinema. See Allen, Woody; Cooper, Merian C.; Daves, Delmer; Ford, John; Griffith, David W.; Hitchcock, Alfred; Keaton, Buster; LeRoy, Mervyn; Ophüls, Max; Porter, Edwin S.; Sedgwick, Edward; Schoedsack, Ernest B.; Vidor, King; Welles, Orson
animism and film
Antonioni, Michelangelo: Blowup; semi-subjective shots and
The Arcades Project (Benjamin)
Arnheim, Rudolf; Film as Art
art; cinema and; Delluc and; film as; media and; modern; Munch, The Scream; in Passion; portraits of Nestorova; value of. See also cubism; futurism
Artaud, Antonin
The Art of Cinematography (Pierre-Quint, L’art cinématographique, 1926)
The Art of Photoplay Making (Freeburg, 1918)
The Art of the Moving Picture (Lindsay, 1915)
attention: center of; close-ups and; Crary on; discipline of; economy of; film and; process of; Münsterberg on; Pudovkin on; voluntary; in Young and Innocent
attraction, attractions; cinema and; Eisenstein on; film and; gaze and; of Gold Diggers of; modulation of; of movie houses; reality and; spectator/spectacle and
audience, audiences; of action photoplays; actors and; Benjamin on; as crowd; in The Crowd; Eisenstein on; film and; Freeburg on; individuality and; King Kong and; Romains on; soul of; transformation of; unity of. See also spectator
Aumont, Jacques, on Vertov, n
auteur cinema of 1960s–70s
avant-garde; in The Cameraman
Bacall, Lauren, in Dark Passage
Balázs, Béla; on collectivity in film; on color film; on objective and subjective; The Spirit of Film; The Visible Man; on vision in film
Barthes, Roland: Camera Lucida; “Leaving the Movie Theater,” “The Third Meaning,”
Bataille, Robert
Baudelaire, Charles Pierre
Bauman, Zigmut
Baxandall, Michaael
Bazin, André; on decoupage; on filmic image’s edges; “Ontology of the Photographic Image,”; realism and
Being and Nothingness (Sartre, L’être et le néant, 1943)
Benjamin, Walter; The Arcades Project; on audience; on bird’s-eye view; on fashion; on film; on media; on metropolis; on sensory stimuli; “The Work of Art in the Age of Mechanical Reproduction,”
Bentham, Jeremy, panopticon of
Berthomieu, André
Bertini, Francesca
Beyond the Pleasure Principle (Freud Jenseits des Lustprinzips, 1920)
The Big Heat (Lang, 1953); opening sequence of
The Birds (Hitchcock, 1963)
Blondell, Joan, in Gold Diggers of 1933
Blowup (Antonioni, 1966); as modern cinema; as self-reflexive; sequences in; storyline of
Blumenberg, Hans, shipwreck metaphor of
Bogart, Humphrey, in Dark Passage
Bordwell, David
boredom
Bresson, Robert, Notes on Cinematography
British cinema. See Paul, Robert W.
Brunetta, Gian Piero
camera; as artist; in The Cameraman; candid; distances of; eye; as filter of reality; liberation of; mediation of; objectivity of; obscura; perspective of; as pure machine; subjectivity of; surveillance; vision of. See also camera movements; shot, shots
Camera Lucida (Barthes, La chambre claire, 1980)
camera movements; in Intolerance; in Napoléon; in Young and Innocent. See also shot, shots
cameraman; in The Cameraman; in The Man with the Movie Camera; in The Notebooks of Seraino Gubbio; of Vertov
The Cameraman (Sedgwick, 1928); The Man with the Movie Camera and; Shoot! vs.; storyline of
Canudo, Ricciotto; The Factory of Images; on “seventh art,”; “Triumph of Cinema,”
Les Carabiniers (Godard, 1960)
Carl Denham (character in King Kong): expedition; as producer-director; as self-portrait of Cooper; as storyteller
Cendrars, Blaise; L’ABC du cinéma; The End of the World Shot by the Angel N.-D.
cinema: aggressivity of; American; analytical capacity of; animism of; art and; as authentic revelation; birth of; as cause; communicability of; concealment and; cultural studies context of; cult of entertainment and; decalogue of; definition of; as democratic; in digital age; as discipline; documentary; eye of; experimental; fiction and; as form of thought; gaze of; grammarians of; Internet and; life and; legacy of; Luchini on; machine and; mechanical gaze of; memory and; modern gaze and; nature and; negotiation of; new epoch of; nostalgia and; objective dimension of; panopticon and; paradoxes of; pathos in; perception vs.; photography vs.; Pirandello on; point of view of; popularity of; as preservation; psychology of; reality and; redefinition of conceptual field by; as scientific instrument; self-regulation of; society and; solutions of; stage of; subjective dimension of; technology and; vision and; as witness. See also auteur cinema; cinematic techniques; classical cinema; film; mainstream cinema; postclassical cinema
Cinema, or The Imaginary Man (Morin, Le cinéma ou l’homme imaginaire, 1956)
“Cinema, the popular art” (Delluc, “Le cinéma, art populaire,” 1921)
Cinema and the Mechanical Arts (Giovannetti, Il cinema e le arti meccaniche, 1930)
cinema houses. See movie theaters
The Cinema Seen from Etna (Epstein, Le cinématographe vue de l’Etna, 1926)
cinematic techniques: in Napoléon; reality and. See also close-up, close-ups; fade-in; fade-out; flashbacks; montage; shot, shots; split screen; superimposition
Cinematographic Art (L’art cinématographique, 1926–28)
Cinema 2.0
Citizen Kane (Welles, 1941); critics and; flashbacks in; narrative structure of; point of view in; Rosebud in; shot/reverse shot in
classical cinema; age of; Dark Passage as; decline of; mainstream and; modern cinema and; shot/reverse shot in; The Three-Sided Mirror as; visual excitement of. See also Hollywood
close-up, close-ups; attention and; Balázs on; in The Crowd; Epstein on; in The Man Who Shot Liberty Valance; in Napoléon; visual accessibility and; in Young and Innocent
communication, communicative: aesthetic and; art and; film and; society and; networks of
communism; cinema and
Compagnon, Antoine
compromise; cinema and; film’s realization of; film’s search for; negotiation and
constructivism
Cooper, Meriam C.: King Kong; Carl Denham as self-portrait
“The Council of Three,”
The Countryman’s First Sight of the Animated Pictures (Paul, 1901)
Crary, Jonathan; on eye as passageway; on new paradigm of vision; Suspension of Perception; Techniques of the Observer
crosscutting; in Intolerance
The Crowd (Vidor, 1928); alienation in; John Sims in; sequences in; Uncle Josh at the Moving Picture Show vs.
cubism
“Cult of Distraction” (Kracauer, “Kult der Zerstreuung …, ” 1926)
cultural studies and cinema
culture and film
The Culture of Time and Space (Kern, 1983)
D’Ambra, Lucio
Daney, Serge
Dark Passage (Daves, 1947): Bogart and Bacall in; classical cinema and; gaze in; San Francisco in; visual objectivity in
Daves, Delmer, Dark Passage
de Baroncelli, Jacques
decalogue of cinema
découpage
Deleuze, Gilles
Delluc, Louis; “Cinema, the popular art,”; “The Fifth Art,”; on myths and rites; “The Photo-plastique in Film,”
depth of field
Desnos, Robert
dialogue; of cinema; of film
digital age: cinema in; twentieth-century modernity and
discourse; plural, in Napoléon
dislocated whole
Eisenstein, Sergei Mikhailovich; on attraction; on ecstasy; on editing; on filmic image; “The Montage of Film Attractions,”; Nonindifferent Nature; Old and New; on visual shock; “yellow rhapsody” of,”
The End of the World Shot by the Angel N.-D. (Cendrars, La fin du monde filmée par l’ange N.-D., 1919)
epilogue, in Citizen Kane
Epstein, Jean; on camera; The Cinema Seen from Etna; on cinematographic image of self; on close-ups; “I watch,”; “Magnification,”; “The Meaning Ibis,”; on montage; on photogenic; on spectator; The Three-Sided Mirror; on vision and film
eroticism: diffused; musicals and; in Old and New
evaluation formula of film
eye; camera and; cinema and; docility of; film and; as filter; of glass; mechanical; Milner on; mind’s; nostalgia and; railroad and; reality and; at stake. See also kino-eye; vision
face, human, in film. See also close-up, close-ups
The Factory of Images (Canudo, L’usine aux images, 1927)
fade-in, fade-out, in Lang’s M
Fairbanks, Douglas
Faure, Elie
Faust (Goethe)
“The Fifth Art” (Delluc, “Le cinquiéme art,” 1919)
film: aesthetics and; age of; animism and; art and; attention and; boundaries of; celluloid; centennial of; color; as communication; creation of rites and myths by; as cubist/futurist art; cult; as discipline of eye; distinctiveness of; experience of; experimental nature of; evaluation of; family; framing of; gaze of; hallucination and; identity of; as institution; as literary expression; as medium; mimicry of; modernity and; multiple perspectives in; negotiations of; nostalgia and; novelty and; nudity in; objectivity and; as optical device; as pornographic; as protagonist; radicalism of; reflexive spectatorial experience of; representation and; role and action of; significance of; as singular phenomenon; sound in; as source for new ideas; as space of reconciliation; society and; spatial diffusion of; special effects and; standardization of; stereoscopic vision of; structuring of; subjectivity and; technology and; theater vs.; twentieth century and; universalism of; vision and; as witness. See also cinema; gaze of film; image, filmic
Film as Art (Arnheim, Film als Kunst, 1932)
film criticism: of 1920s; institutionalization of cinema by; new canons of
film editor, editing; analytic; classic; Eisentsein on; in The Man with the Movie Camera; as method of control; power of; process of; types of. See also découpage
film history
filmic gaze. See gaze of film
filmic experience
filmic image. See image, filmic
filmic representation; Balázs’s theory of
filmic syntax
filmic text
Film Technique: Five Essays and Two Addresses (Pudovkin, 1933)
film theory
flashback; in Citizen Kane; in Letter from an Unknown Woman; in A Letter to Three Wives; in The Man Who Shot Liberty Valance; as memory device
flash-forward
Ford, John: The Man Who Shot Liberty Valance; poetics of
Foucault, Michel; discipline and; discursive formation and
Fourth State (Volpedo, Il Quarto Stato, 1901)
frames, framing: in The Crowd; de-framing and; of film; of gaze; point of view in; push in
Frankfurter Allgemeine Zeitung: Kracauer’s work in; Lukás in
Freeburg, Victor O.; The Art of Photoplay Making; on audience; on eye, n; on Intolerance
French cinema. See also Cendrars, Blaise; Epstein, Jean; Gance, Abel; Godard, Jean-Luc
French Cinema: The First Wave, 1915–1919 (Abel, 1984)
Freud, Sigmund; Beyond the Pleasure Principle
futurism; Marinetti’s Futurist manifesto
Gance, Abel: as Bonaparte; Cendrars and; director’s speech of; Kaplan and; Napoléon; on Napoléon; on vision and film
gaze; all-embracing; cubists and; embodiment of; futurists and; of modernity; perspective and; real and; redemption of, by film; worldly
gaze of film; agent controlling; ambiguities of; attention and; birth of; in Blowup; in Citizen Kane; in Dark Passage; enlargement of; as excited; framing of; impulses of modernity and; interweaving of; in Intolerance; in The Man Who Shot Liberty Valance; mechanical; newness of; in Napoléon; objectivity of; observer and; in Old and New; as oxymoron; partiality of; as penetrating; plural; point of view and; power of; properties of; reality and; speed and; subjective dimension of; in The Three-Sided Mirror; transformation and; typology of; in Young and Innocent
gender; in The Three-Sided Mirror
genres of film: chase; detective; documentary; musical; narrative; western
German cinema: Berlin cinema houses. See also Lang, Fritz
Giovannetti, Eugenio; Cinema and the Mechanical Arts
global, globalization
glosses, on cinema
Godard, Jean-Luc; Les Carabiniers; Jerzi and; Passion
Goffman, Erving
Gold Diggers of 1933 (LeRoy, 1933); Blondell in; musical numbers in; narration and; romance in; storyline of
grammarians of cinema
A Grammar of the Film: An Analysis of Film Technique (Spottiswoode, 1935)
grammatical markers, of filmic gaze
Greek tragedy vs. film
Griffith, David W.; on cinematic fugue; crosscutting and; Intolerance; last-minute rescue film and; Pudovkin on
Guardini, Romano; Letters from Lake Como
Gunning, Tom
Hansen, Miriam; Babel and Babylon
Hitchcock, Alfred; The Birds; objective-subjective dialectic and; Psycho; Spellbound; Truffaut and; Vertigo; Young and Innocent
Hofmannsthal, Hugo von
Hollywood; classical cinema and; social tensions and
image: Allendy on; morphing
image, digital
image, filmic; appeals of; Barthes on; borders of; in The Cameraman; complexity of; distortions of; edges of; limits of; modernity and; narrative and; in Passion; past and; projection and; reality and; as simulacrum; spectator and; subjective dimension of; as test
image, photographic
The Imaginary Signifier (Metz, Le signifiant imaginaire, 1977)
imagination: cinema and; film and; images and; in King Kong; reality and; as psychological process
Information and Communication Technology (ITC)
In Penombra (journal)
intensive whole; Pudovkin and
Internet
interpretation; in Young and Innocent
Intolerance (Griffth, 1916): “Babylonian Story” in; as chase film; clock in; episodes in; film techniques in; “Modern Story” in; reviews of; sequences in; speed in; suspense in
invisibility, the invisible. See visibility, the visible
Italian cinema. See Antonioni, Michelangelo
James, Henry; The Ambassadors; building/house metaphor of; on narration; Portrait of a Lady; theory of, on novel
Japanese cinema. See Kurosawa, Akira
Jedlowski, Paolo, Il mondo in questione
Kant, Immanuel
Kaplan, Nelly
Kaufman, Mikhail
Keaton, Buster: in The Cameraman; MGM and; Seven Chances; Sherlock Jr.
Kern, Stephen, The Culture of Time and Space
King Kong (Cooper and Schoedsack, 1933); Abruzzese on; Denham in; nature and technology in; Rony on; screening of; sequences of; Snead on; superimposition in; violence in
kino-eye: Kino Eye group and; Vertov on
Kinoglaz film series
Kinorežissër i kinomaterial (Pudovkin, 1926)
Kinoscenari (Pudovkin, 1926)
Kleist, Heinrich von, About the Marionette Theater
Kracauer, Siegfried; “Cult of Distraction,”; on early cinema; on film and mass society; “The Little Shopgirls Go to the Movies,”; Theory of Film: The Redemption of Physical Reality; on total artwork of effects
Kurosawa, Akira, Rashomon
Lacan, Jacques
Lady in the Lake (Montgomery, 1947)
Lang, Fritz: The Big Heat; M; Metropolis
The Late Mattia Pascal (L’Herbier, Feu Mattia Pascal, 1925)
“Leaving the Movie Theater” (Barthes, “En sortant du cinema,” 1975)
Leopardi, Giacomo
LeRoy, Mervyn: Gold Diggers of 1933
Letter from an Unknown Woman (Ophüls, 1948)
Letters from Lake Como (Guardini, Briefe vom Comer See, 1927)
A Letter to Three Wives (Mankiewicz, 1949)
L’Herbier, Marcel: The Late Mattia Pascal; on “machine to print life,”; Vuillermoz vs.
Lindsay, Vachel: on Americans and speed; The Art of the Moving Picture
literature; cinema and; experimental; film and; Futurists on; James’s house of fiction; of Poe
“The Little Shopgirls Go to the Movies” (Kracauer, “Die kleinen Ladenmädchen gehen ins Kino,” 1963)
Livoni, Giovanni
locus, loci; of anonymity; of circularity; of confluence; editing and; of philosophical reflection; point of view and
Luciani, Sebastiano A.
Luchini, Alberto, on cinema
Lucretius, On the Nature of Things
Lukács, Georg; “Thoughts on an Aesthetic for the Cinema,”
Lumiére, Louis
machine, machines: age of; camera as; cinema and; cinema as; culture of; excitement and; eye of; gaze of; in Intolerance; man and; movement; in The Notebooks of Serafino Gubbio; in Old and New. See also technology
“Magnification” (Epstein, “Grossissement,” 1921)
mainstream cinema of 1930s–1950s
Mankiewicz, Joseph L. A Letter to Three Wives
The Man Who Shot Liberty Valance (Ford, 1962); action vs. reflection in; flashback in; memory and; storyline of; violence in
The Man with the Movie Camera (Vertov, Celovek s kinoapparatom, 1929); The Cameraman and; as experiment; Vertov’s introduction to
Marfa, in Old and New
Marinetti, Filippo Tommaso, Futurist manifesto of
Martini, Fausto M.
Marx, Karl, ideology and
mathematics: algorithms and film; perspective and
Matuszewski, Boleslaw, on memory and cinema
May, Renato
McLuhan, Marshall
“The Meaning Ibis” (Epstein, “Le sens Ibis,” 1921)
“Meaning of Film” (Pierre-Quint, “Signification du cinéma, 1926)
medium, media; definition of; film as; filtering of; mass; modern age and; society and
Méliès, Georges
memory; film and; in The Man Who Shot Liberty Valance; as psychological process; truth and; witness and
Merleau-Ponty, Maurice
Metropolis (Lang, 1927): circularity in; sequences in
Metz, Christian, The Imaginary Signifier
MGM; Keaton and; Newsreel company in The Cameraman
Milner, Max, The Phantasmagoria
Mirelli, Giorgio, portraits of Nestorova by
mirror, mirrors: Epstein on; film as; game of; in M; in The Three-Sided Mirror
M (Lang, 1931)
modern cinema: Blowup and; Citizen Kane and; de-framing and; shots in
modern experience; meaning of, and film; mechanism of. See also modernity
modern gaze, and cinema
modernity; characteristics of; Compagnon on; demands of; economy and; essential questions of; film and, in twentieth century; focus of; frame of, and film; impulses of; individuality and; intentions of; mass media and; modernism and; of nineteenth century; observer and; Panofsky on; progress and; revolution and; space and; speed and; transformations of. See also modern experience
montage: Eisenstein on; rapid; Vertov on
“The Montage of Film Attractions” (Eisenstein, “Montaž kino-attrakcionov,” 1924)
Montgomery, Robert, Lady in the Lake
Moretti, Franco
Morin, Edgar, Cinema, or The Imaginary Man
Moussinac, Léon
movies, See also cinema; film; movie theaters
movie theaters; ancient amphitheater vs.; Kracauer on; transformation of
Mumford, Lewis; Technics and Civilization
Münsterberg, Hugo; on close-ups; on imagining; The Photoplay; on spectators
musicals; backstage; Gold Diggers of 1933
Musil, Robert
myths and rites: Delluc on; film and
Napoléon (Gance, 1927): analysis of; camera movements in; cinematic techniques in; eagle in; episodes in; filmic gaze in; foreshadowing in; narration in; triptychs in; plural gaze in; vision of; visual empire of
narration; filmic; filmic image and; role of, in Gold Diggers of 1933; James on; reality vs.
narrative; of Citizen Kane; The Crowd and; filmic image and; of King Kong; level of; manipulation and; of The Man Who Shot Liberty Valance; order; of The Three-Sided Mirror
narrator: in Citizen Kane; of fiction
nature: artifice and; as character; cinema and; in King Kong; in Passion; technology and
negotiation: of cinema; of contradictory impulses by film; film’s gaze and
nervous stimulation
newsreels: in The Cameraman; in Citizen Kane; Vertov on
Nonindifferent Nature: Film and the Structure of Things (Eisenstein, Neravnodužnaja priroda, 1963–70)
nostalgia; Delluc and; film and; in Old and New; in Passion
The Notebooks of Serafino Gubbio. See Shoot! The Notebooks of Serafino Gubbio, Cinematograph Operator
Notes on Cinematography (Bresson, Notes sur le cinématographe, 1975)
nudity in film
objective, objectivity; of cinema and cinematographic image; in Dark Passage; dimensions of; film and; in filmic gaze; shots; subject and
observer: in Blowup; modernity and; object of gaze and; observed and; reality and; theme of
ocular prosthesis
ocular witness
Old and New (Eisenstein, Staroe i novoe, 1926); change in; eroticism in; gaze in; machines and technology in; nostalgia in; refiguration in; revolution in; sequences in; storyline of; time in; violence in
On the Nature of Things (Lucretius, De rerum natura)
“Ontology of the Photographic Image” (Bazin, “Ontologie de l’image photographique,” 1958)
Ophüls, Max, Letter from an Unknown Woman
Oudart, Jean-Pierre
oxymoron: cinema as; film’s gaze as
Painlevé, Jean
Panofsky, Erwin; on cinematographic style; on modernity; on movies; on perspective; “Perspective as Symbolic Form,”
panopticon, cinema and
Papini, Giovanni
partitive unity; in Napoléon; plural gaze and
partitive whole. See partitive unity
Passion (Godard, 1982); Jerzi in; light in; storyline of
Paul, Robert W., The Countryman’s First Sight of the Animated Picture (1901)
perception; interpretation and; perceptive energy and; of reality; of spectator; transformation of; vision and
perspective; of camera; of cinema; in Dark Passage; in film; laws of; of narration; Panofsky on; visual space and; Wood on
“Perspective as Symbolic Form” (Panofsky, “Die Perspektive als ‘symbolishe Form,’” 1927)
The Phantasmagoria (Milner, La fantasmagorie, 1982)
photography; as art; Barthes on; in Blowup; cinema vs. identity and; Papini on; photogram; success of
“The Photo-plastique in Film” (Delluc, “La photoplastique au cinema,” 1918)
The Photoplay: A Psychological Study (Münsterberg, 1916)
physiology
Pierre-Quint, Léon: Art of Cinematography; “Meaning of Film,”
Pirandello, Luigi; allusion to, in The Three-Sided Mirror; cinemelografia and; L’Herbier and; The Notebooks of Serafino Gubbio
Plato
Poe, Edgar Allan
point of view; in Citizen Kane; in Dark Passage; Epstein and; filmic gaze and; in Lady in the Lake; in Napoléon; narrator and; seeing and; semi-point-of-view shot; shot; in The Three-Sided Mirror See also perspective
Ponzo, Mario
pornography
Porter, Edwin S. Uncle Josh at the Moving Picture Show (1902)
postclassical cinema, and conflict
progress; in Old and New; machines and; modernity and; scientific; speed of
projection, projectors
prologue: in Citizen Kane; in The Three-Sided Mirror
proximity, of modernity
Psycho (Hitchcock, 1960)
“The Psychological Value of the Image” (Allendy, “La valeur psychologique de l’image,” 1926)
psychology; of cinema; psychoanalysis and; modeling and
Pudovkin, Vsevolod Illarionovich: on attention; on editing; Film Technique; on Griffith; influence of; intensive whole and; Kinorežissër i kinomaterial; Kinoscenari; on perceptive energy
Purple Rose of Cairo (Allen, 1985)
Radio City Music Hall
Rashomon (Kurosawa, 1950), tropes in
real, reality; attention and; in Blowup; in The Cameraman; camera and; cinema and; digital image and; film and; filmic image and; in Gold Diggers of 1933; image of; imagination and; immediacy of; immersion in; manipulation of; narration vs.; observer and; onscreen; orders of; in Passion; perception and; possibility and; stimuli and; symbols of; uncertainty and; in Vertigo
Reception Studies
recognition; in Vertigo
refiguration; film and; in Old and New
reflexivity, of film’s function
reviews; of Citizen Kane; by Desnos; of Intolerance; of King Kong; by Kracauer
revolution; dialectic of; French; Kant and; modernity and; in Old and New; Russian
Rio Jim (character)
rites, rituals. See myths and rites
Romains, Jules, on audiences
Rony, Fatimah Tobing, on King Kong
Russian cinema: crowd in; USSR in. See also Eisenstein, Sergei Mikhailovich; Pudovkin, Vsevolod Illarionovich; Vertov, Dziga
Sander, August
Sartre, Jean-Paul; Being and Nothingness; influence of
Savinio, Alberto, on cinema
Schoedsack, Ernest B. King Kong
scopic; activity; desire; exercise; experience; models; role; spectator-ship and; subject and object; system
Sedgwick, Edward, The Cameraman
seeing. See also vision
Sennett, Max
sensory excitement; order and
Serao, Matilde
Seven Chances (Keaton, 1925)
Sherlock Jr. (Keaton, 1924)
Shoot! The Notebooks of Serafino Gubbio, Cinematograph Operator (Pirandello, “Si gira,” 1915); machines in; Serafino Gubbio in
shot, shots; camera car; cranes; depth of field; in The End of the World Shot by the Angel N.-D.; establishing; high speed; impersonal; inner; in Intolerance; in King Kong; long-take; master; medium full; in Napoléon; objectivity of; off-screen; pans; point of view; push in framing; re-establishing;/reverse shot; semi-point-of-view shot; sequence; slow motion; split screen; subjective and semi-subjective; swish pans; typology of; unfocused. See also close-up
Simmel, Georg: on aggressiveness of stimuli; on blasé; on knowledge; on logic of money; on metropolitan man; on sensory excitement; on time
Snead, James, on King Kong
socialist movement
society: cinema as social institution; communicative network of; film and discourses of; medium of film and; rites and myths of
Solaria (Italian journal), Luchini in
Souday, Paul; as “reactionary” critic
space, off-screen: in Lang’s M
spectacle; of action photoplays; in Blowup; cinema and; cinematographic; environment and; Epstein on; in film; filmic; immersion in; in King Kong; in modern culture; Pirandello on; sensory excitement and; spectator and; in Uncle Josh at the Moving Picture Show; viewer and; voyeurism and
spectator; audience and; awareness of; in Blowup; The Crowd and; of early films; eye of; film and; filmic text and; gaze of; Gold Diggers of 1933 and; identification and; imagination of; immersion of; as individual, of Intolerance; in King Kong; of Old and New; as optimal observer; perception of; performance and; spectacle and; spectatorial experience and; speed and; strain on; in Uncle Josh at the Moving Picture Show
speed; of action photoplays; Americans and; change and; in cinema; film and; Futurists and; in Intolerance; modernity and; railroads and
Spellbound (Hitchcock, 1945)
The Spirit of Film (Balázs, Der Geist des Films, 1930); “The Shot” in
split screen; in Napoléon
Spottiswoode, Raymond: on communication and art; on crowd in Soviet film; A Grammar of the Film: An Analysis of Film Technique; Pudovkin and
subject, subjectivity: in age of machine; in Blowup; camera and; of cinema; in Citizen Kane; dimension of; environment and; film and; of gaze; object and; scopic; shots; of vision
Summers, Rollin
superimposition; in The Cameraman; in King Kong; in Napoléon
surrealism, surrealists; in The Cameraman; Desnos as
suspense; in Intolerance
Suspension of Perception: Attention, Spectacle, and Modern Culture (Crary, 1999)
Svilova, Elizaveta
synchronies
Technics and Civilization (Mumford, 1934)
Techniques of the Observer (Crary, 1990)
technology; advances of; cinema and; culture and; of film; in Italy; ICT and; in King Kong; knowledge and; of media; miniaturization of; nature and; nineteenth-century optical devices; in Old and New; Pirandello on mechanical devices; speed and
text, filmic
theater vs. film
Theory of Film: The Redemption of Physical Reality (Kracauer, 1960)
“The Third Meaning: Notes on Several Eisenstein Stills” (Barthes
“Thoughts on an Aesthetic for the Cinema” (Lukás, “Gedanken zu einer Ästhetik des ‘Kino,’” 1913)
Thovez, Enrico
The Three-Sided Mirror (Epstein, La glace à trois faces, 1927); episodes of; gaze in; indeterminateness in; memory; narrative structure of; protagonist of; symbols in; women in
Toddi, Enrico
Tracy, Spencer
traffic and cinema
tragedy; Greek; speed and; technology and
triptychs in Napoléon
“Triumph of Cinema” (Canudo, “Il trionfo del cinematografo,” 1908)
Truffaut, François
truth: cine-truth; law of, of cinema; memory and
twentieth century: cinema as eye of; film in; gaze of; modernity and film in; modernity of
Uncle Josh at the Moving Picture Show (Porter, 1902) The Crowd vs. filmic image in; Josh in; spectator in; storyline of
universalism of film
USSR, in Old and New
vaudeville
Vertigo (Hitchcock, 1958)
Vertov, Dziga; on camera; introduction of, to The Man with the Movie Camera; The Man with the Movie Camera
Vidor, King, The Crowd (1928)
violence; film and; in King Kong; in The Man Who Shot Liberty Valance; in Old and New; revolution and; technology and
visibility; invisibility and
The Visible Man (Balázs, Der Sichtbare Mensch, 1924)
vision; aerial; camera gaze and; Cartesian model of; in Citizen Kane; in Dark Passage; duality of modern; field of; film and; Hollywood and; images and; logic of; new pattern of; objective; partial; perspective and; potential of; subject and; subjective; theater of; Vertigo and; of world
visual excitement
visual field; point of view and. See also vision: field of
voice-over, in Passion
Volpedo, Giuseppe Pellizza da, Fourth State
Vuillermoz, Émile
Wagner, Richard
Welles, Orson, Citizen Kane
“The Work of Art in the Age of Mechanical Reproduction” (Benjamin, “L’ouevre d’art à l’époque de sa production mécanisée,” 1936)
Young and Innocent (Hitchcock, 1937):