Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Abel, Robert, 91–92, 93, 163, 223, 228, 295n94, 299n16, 316n54, 321n41. See also Robert Abel and Associates
Acme-Dunn optical printer, 37
AIP (American International Pictures), 81, 123
Airplane! (Abrahams, Zucker, and Zucker, 1980), 228
American Cinematographer magazine: creative triangle and, 298n125; digital workflow and, 278n17; on Dykstraflex, 134–35, 318n90; Edouart, Farciot and, 280n15; Empire Strikes Back, The (Kershner, 1980) and, 305n28; film stocks and, 305n41; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 293n66; Jackman, Fred and, 288n4; sound technology and, 282n31; Towering Inferno, The (Guillermin, 1974) and, 284n51; on 2001: A Space Odyssey (Kubrick, 1968), 72, 74, 133; Whitney, John, Sr. and, 307n20
American Film Institute, 95
American Gangster (Scott, 2007), 271
American International Pictures (AIP), 81, 123
Anderson, Paul Thomas, 271
Androcles and the Lion (Erskine, 1952), 96
Andromeda Strain, The (Wise, 1971), 228, 311n9
Animals in Motion (Muybridge), 210
animation: abstract, 53, 166, 285n67; Beckett, Adam and, 160; blockbuster films, expanded and, 122; character, 88–89, 90, 207, 208–212; Close Encounters of the Third Kind (Spielberg, 1977) and, 154; creature, 240, 295n87, 319n3, 320n26; design flexibility and, 269; digital, 268, 285n59; Dykstra, John and, 43–44, 45; Edlund, Richard and, 233; feature-length, 5, 278n16; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 84; live-action footage and, 44, 268; multiplane, 43, 44, 45–46, 133, 164, 169, 170, 310n60; optical, 23, 29, 58–62, 173, 267, 268; vs. photographic aesthetics, 61–62; prominence of, 280n9; rotoscoping and, 44, 46–48, 67; special effects and, 43–48; Star Wars (Lucas, 1977) and, 154, 157, 160, 167, 169, 173; streak, 88, 118–19, 169, 258, 307n20; traditional, 1, 44, 55, 301n37; Trumbull, Douglas and, 325n10; 2001: A Space Odyssey (Kubrick, 1968) and, 70; visual effects and, 278n16. See also experimental animation; multi-plane animation stand; puppetry; stop motion; 3D animation; 2D animation; West Coast experimental animation
Apogee, 81, 205, 215, 216–19, 222, 223–25, 227, 231, 232–33, 293n72, 316n38
Argo (Affleck, 2012), 271
avant-garde, films and, 54, 57, 94, 113, 117, 123, 151, 156, 285n67, 286n72. See also experimental filmmaking
Avatar (Cameron, 2009), 26, 69, 239, 259, 272–74, 276n9, 311n16, 320n26, 326n18, 327n25
Avengers, The (Whedon, 2012), 11, 239, 268
Back to the Future (Zemeckis, 1985), 264
Back to the Future—The Ride, 256–57
Bamboo Blonde, The (Mann, 1946), 96
Batman Begins (Nolan, 2005), 138
Battleship Potemkin (Eisenstein, 1925), 117, 301n33
Battlestar Galactica (television), 194–95, 219
Beckett, Adam: CalArts (California Institute of the Arts) and, 152, 285n68; effects houses and, 64; optical printing and, 56; rotoscoping and, 157, 160; special effects industry and, 152; Star Wars (Lucas, 1977) and, 99, 155, 157, 160, 164, 165fig., 219
Beineix, Jean-Jacques, 260
Belson, Jordan: abstract imaging trend and, 153; abstract label resistance and, 285n66; Allures (1961) and, 50, 166–67; animation and, 17, 28, 57; Eastern spiritualism and, 286n75, 310n58; experimental filmmaking and, 51; graphic dynamism and, 116; imagery impact and, 48; Le Grice, Malcolm and, 286n72; Lucas, George and, 149–50, 151; optical printing and, 56; special effects industry and, 152; technophilia and, 196
Birds, The (Hitchcock, 1963), 47–48
Black Hole, The (Nelson, 1979), 49
Blade Runner (Scott, 1982): aesthetics of, 109, 260; diegetic environments of, 170, 171; as dystopia, 195, 263–64; experimental filmmaking and, 164; reviews of, 325n2; Trumbull, Douglas and, 75, 87, 182, 224, 226, 231; virtual camera effect and, 43, 46
Blalack, Robert: Bromberg, Betzy and, 228; CalArts (California Institute of the Arts) and, 228, 285n68, 287n81; Dykstra, John and, 228; effects authorship struggles and, 127; O’Neill, Pat and, 228; Rhythm and Hues and, 317n77; Robert Abel and Associates and, 93; special effects industry and, 152, 156, 157; Trumbull, Douglas and, 228; Wolfen (Wadleigh, 1981) and, 230, 317n73. See also Praxis
blockbuster films, expanded: aesthetics of, 109; anti-technology narratives and, 273–74; CGI (computer-generated imagery) and, 178; collective experience and, 252–53, 259–60, 261, 265, 268, 279n29; definition of, 17; economic aspects of, 197, 260–62; Edlund, Richard on, 233–34; era of, 22; Expanded Cinema (Youngblood) and the, 55; experimental filmmaking and, 163; idealistic ethos and, 263; ILM (Industrial Light & Magic) and, 260; independent houses and, 122; intellectual popular films and, 270–71; narrative and, 109, 120, 122, 273–74, 318n94; stop motion and, 260. See also Close Encounters of the Third Kind (Spielberg, 1977); Star Wars (Lucas, 1977)
Blues Brothers, The (Landis, 1980), 228
blue screens: Abbott, L. B. and, 79; Blue Thunder (Badham, 1983) and, 232, 318n83; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963), 84; live action and, 269; mattes and, 143; motion control and, 135; techniques of, 141–42, 280n17; Van Der Veer Photo Effects and, 219, 293n70; Williams Process and, 305n27
Boston Museum of Fine Arts, 95, 97
Bridges at Toko-Ri, The (Robson, 1954), 41, 289n10
Bringing Up Baby (Hawks, 1938), 96
Bromberg, Betzy, 64, 152, 155–56, 157–58, 228, 229, 230, 307n21, 308n34, 314n5
Buck Rogers and the 25th Century (television), 194–95
Burroughs, Edgar Rice, 148
CalArts (California Institute of the Arts): Beckett, Adam and, 152, 285n68; Blalack, Robert and, 228, 285n68, 287n81; counterculture scene and, 163; Disney and, 56, 287n81, 292n53; Lucas, George and, 164; Museum of Modern Art and, 285n68; O’Neill, Pat and, 152, 155; optical printing and, 154; special effects industry and, 155, 163, 285n68; Star Wars (Lucas, 1977) and, 51, 160, 309n45; West Coast experimental filmmakers and, 152
California State University–Long Beach, 51, 124
Cat People (Schrader, 1982), 228
CGI (computer-generated imagery): Abel, Robert and, 93; “authentic” films and, 271; Close Encounters of the Third Kind (Spielberg, 1977) and, 287n84; critics and, 263, 270–72; Cuba, Larry and, 160; experimental filmmaking and, 163–64; flexibility of, 271; Harryhausen, Ray and, 245; motion-control technology and, 320n26; 1970s film industry and, 60; Robert Abel and Associates and, 75, 316n53; Star Wars (Lucas, 1977) and, 178; stop motion and, 319n3; Tron (Lisberger, 1982) and, 288n86
Chomón, Segundo de, 31, 44
Cimarron (Ruggles, 1931), 83
cinema of attractions argument, 4, 111
cinematic documentary realism, 16
Clash of the Titans (Davis, 1981), 67, 69, 240, 242, 243, 244, 246–50, 289n12, 320n23
classical filmmaking, 7–8
Classical Hollywood Cinema, The (Bordwell, Staiger, and Thompson), 7
classical style special effects, 21–22
Cliffhanger (Harlin, 1993), 238
Close Encounters of the Third Kind (Spielberg, 1977): aesthetics of, 115, 125, 180, 184; animation and, 154; auteurism and, 106; as blockbuster film, 113–16, 187; budget and, 179; cinema as universal language and, 314n50; cinema history and, 106–109; cinematic diegesis and, 106–107; color and, 140; computer animation and, 287n84; Expanded Cinema and, 187; experimental filmmaking and, 164; film stocks and, 137, 144; Future General effects company and, 131, 184, 310n5; graphic dynamism and, 28, 49, 118, 183; independent houses (optical/title/effects) and, 122; industry change and, 14; kineticism and, 132, 183; light use and, 184, 185–88, 189; Lucas, George and, 123; mattes and, 143; miniatures and, 143–44, 185, 312n23; models and, 184, 185, 189; motion control and, 131–32, 136; Muren, Dennis and, 185; music and, 187, 198; narrative and, 106, 120; as new world paradigm, 267; optical printing and, 130, 154, 302n44; optimistic futurism and, 194, 197, 198; photorealism and, 24, 57, 130, 145; reviews of, 111; rotoscoping and, 48; sensory engagement and, 186, 198; sequelization and, 197; special effects and, 108, 130–32, 136, 137, 140, 143–44, 145; Spielberg, Steven on, 114, 179; vs. Star Wars (Lucas, 1977), 182–83, 185–86, 198–99, 265; Trumbull, Douglas and, 75, 87, 121, 132, 154, 181–82, 184, 186, 187–88, 252, 311n21; UFOs and, 143–44, 180, 185–192, 312n23
Cloud Atlas (Wachowski and Wachowski, 2012), 269
Cockfighter (Hellman, 1974), 22
commercial aesthetics, 109
composites: before and after Star Wars (Lucas, 1977), 69; definition and history of, 30–43; disaster films and, 78–79; frame control and, 24–25; Hollywood tradition and, 292n50; mise-en-scène and, 24–25; 1980s and, 67; 1920s/1930s and, 29–40, 282n30; Saugus Series (O’Neill, 1974) and, 161–62; Star Wars (Lucas, 1977) and, 134; studio-era methods and, 26; technologies, 33, 67, 282n30; 2001: A Space Odyssey (Kubrick, 1968) and, 72. See also front projection; in-camera methods; mattes; opticals; process photography; rear projection; transparencies
Conan the Barbarian (Milius, 1982), 220
Conquest of Space (Haskin, 1955), 71, 167–68
Coppola, Francis Ford: AIP (American International Pictures) and, 81; Apocalypse Now (1979), 57, 307n19; as auteur, 105, 112–13; Dream Quest and, 231–32; Dunn, Linwood and, 97; as exciting filmmaker, 14; experimental filmmaking and, 153; location work and, 39; Lucas, George on, 306n10; One from the Heart (1982) and, 219, 231–32; photorealism and, 22; studio-based techniques and, 69. See also American Zoetrope
counterculture scene, 99, 163
Damnation Alley (Smight, 1977), 28, 227
Dark Knight, The (Nolan, 2008), 138
Day the Earth Stood Still, The (Wise, 1951), 186
Death Proof (Tarantino, 2007), 271
Decay of Fiction (O’Neill, 2002), 162
dialogue replacement technology, 34–35
Die Hard (McTiernan, 1988), 238
digital-based houses, 238
Digital Domain (IBM’s), 238
Digital Harmony (Whitney, John, Sr.), 193
digital technologies: aesthetics and, 269, 326n11; animation, 268, 285n59; digitization, 240, 315n28; effects and, 5, 8–9; as effects era, 281n20; ILM (Industrial Light & Magic) and, 100; imaging, 44, 259, 264, 275n6, 278n21; as an index, 275n5; vs. optical, 4; Trumbull, Douglas on, 252; workflow problems and, 278n17
Digital Visual Effects in Cinema: The Seduction of Reality (Prince), 5–6
Disney, 70, 77, 232, 238, 278n28, 285n56, 287n81, 292n53, 301n37, 321n41. See also Disney, Walt; Universal Studios
Duel (Spielberg, 1971), 124
Dunn, Linwood: Academy of Motion Picture Arts and Sciences Dunn Collection, 96, 279n3, 296n113, 308n33; Acme-Dunn optical printer and, 37, 82–83; career of, 292n61; Citizen Kane (Welles, 1941) and, 41, 83, 96, 280n10, 282n32; Dykstra, John and, 297n119; Edlund, Richard and, 297n119; Film Effects Hollywood, 82, 83, 136–37, 219, 292n58; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 84fig., 293n66; King Kong (Cooper and Schoedsack, 1933) and, 83, 96, 281n18, 282n32; lectures, 81, 95–97, 155, 284n48, 297n117, 297n119; “In Memoriam” notice, 282n32; montage and, 118; Muren, Dennis and, 297n119; O’Neill, Pat and, 97, 155, 161; practitioner discourse of, 13; realism and, 13; Saugus Series (O’Neill, 1974) and, 161–62; Star Wars (Lucas, 1977) and, 303n56; studio era and, 21, 64; Trumbull, Douglas and, 297n119; 2001: A Space Odyssey (Kubrick, 1968) and, 96, 136–37; youth recruitment efforts and, 67, 81, 95–98. See also optical printing
Dunning Process Company, 64
Dykstra, John: Andromeda Strain, The (Wise, 1971) and, 228, 311n9; animation and, 43–44, 45; Apogee and, 216–19; Blalack, Robert and, 228; Bukatman, Scott on, 301n40; Dunn, Linwood and, 297n119; Dykstra (continued) effects authorship struggles and, 101, 127; flight and, 303n4, 304n15; ILM (Industrial Light & Magic) and, 177, 181, 216, 325n10; independent houses and, 81, 215; Lucas, George and, 127, 133–34, 177, 213, 216, 315n31; Pederson, Con and, 132–33; Silent Running (Trumbull, 1972) and, 311n9; Spiderman I & II (Raimi, 2002, 2004) and, 268; as star effects artist, 239; Star Trek: The Motion Picture (Wise, 1979) and, 223–27, 304n12; Star Wars (Lucas, 1977) and, 43, 65, 127, 131, 133–34, 154, 177, 181; Trumbull, Douglas and, 131, 177, 181, 304n12. See also Dykstraflex motion-control rig
Earth vs. the Flying Saucers (Sears, 1956), 69, 186
Easy Rider (Hopper, 1969), 22
Edlund, Richard: Boss Films and, 232–34, 235, 238; on candy apple neon look, 92, 223; digital era and, 81; Dunn, Linwood and, 297n119, 303n56; Empire Strikes Back, The (Kershner, 1980) and, 90, 207–208, 233, 305n28; Expanded Cinema and, 260; Ghostbusters (Reitman, 1984) and, 235; ILM (Industrial Light & Magic) and, 232–33, 325n10; photorealism and, 13, 233; Return of the Jedi (Lucas, 1983) and, 233; Robert Abel and Associates and, 80, 93, 233; Star Wars (Lucas, 1977) and, 154, 303n56; Westheimer Company and, 80, 293n71
Ellenshaw, Harrison, 25, 27
Empire Strikes Back, The (Kershner, 1980): character animation and, 208–212; faux helicopter shots in, 120fig., 211fig.; graphic dynamism and, 119, 214; ILM (Industrial Light & Magic) and, 65, 131, 205–14; Lucas, George and, 177, 206–207, 209; mattes and, 213; optical printing and, 212, 213; photorealism and, 148, 206–207, 213, 214; stop motion and, 90, 207–212; zoopomorphic Imperial Walkers in, 210fig. See also Edlund, Richard; Muren, Dennis
Eraserhead (Lynch, 1977), 57
E.T. the Extra-Terrestrial (Spielberg, 1982), 88, 110, 231–32
European New Wave, 15, 16
Expanded Cinema: Close Encounters of the Third Kind (Spielberg, 1977) and, 187; collective experience and, 252–53, 259–60, 279n29; feature films and, 58; intensified intermedial experience of, 54–55; movement, 16, 52, 54; O’Neill, Pat and, 52; political modernism and, 16, 267, 279n29, 321n38
experimental filmmaking: abstract, 48, 50–51, 53; Close Encounters of the Third Kind (Spielberg, 1977) and, 164; commercial work and, 80; contemporary, 3; experiential emphasis and, 53, 55; ILM (Industrial Light & Magic) and, 100, 164; kineticism and, 28, 153, 164; mainstream filmmaking and, 170, 171, 286n72; manifestos, 193; music events and, 54, 163, 312n28; O’Neill, Pat and, 51, 97; optical printing and, 55–56, 152, 154, 164; political filmmaking and, 16; rotoscoping and, 164; Scott, Ridley and, 57, 152; By the Sea (1962), 91; sensory engagement and, 53, 55, 166; Star Wars (Lucas, 1977) and, 146–47, 151–61, 162, 164, 301n39; traveling shows and, 163; Trumbull, Douglas and, 51; West Coast, 50, 51–52, 113, 170, 178, 286n72; Youngblood, Gene and, 53, 113, 163. See also experimental animation; experimental filmmakers; Lucas, George
Fantasia (Disney, 1940), 50
Fantastic Voyage (Fleischer, 1966), 42, 77
Fight Club (Fincher, 1999), 132, 269
Filmic Expression (USC class), 56
Fischinger, Oskar, 50, 151
Flashdance (Lyne, 1983), 110, 260
Flash Gordon comic strips, 123
Flying Down to Rio (Freeland, 1933), 36, 41, 83
Foreign Correspondent (Hitchcock, 1940), 38
frames, 24–25, 44, 89, 135, 241, 254–55, 281n21, 294n73, 311n16, 325n7
French poetic realism, 11
Future General effects company: Close Encounters of the Third Kind (Spielberg, 1977) and, 131, 184, 310n5; as independent house, 204, 227; vs. Lucas/ILM (Industrial Light & Magic), 126–27, 265; replicable efficiency and, 131; 70mm film format and, 139; Star Trek: The Motion Picture (Wise, 1979) and, 93, 223–24; Trumbull, Douglas and, 75, 131, 181
“Future of Special Effects and Animation, The” (lecture series), 297n117
graphic dynamism: Close Encounters of the Third Kind (Spielberg, 1977) and, 28, 49, 116, 118, 183; definition of, 15; Dunn, Linwood and, 96; Empire Strikes Back, The (Kershner, 1980) and, 119, 214; experimental filmmakers and, 116–18; Lucas, George and, 49, 105, 267; music and, 117; 1970s/1980s filmmaking and, 27–28, 49–50, 57–58; Spielberg, Steven and, 105; Star Trek: The Motion Picture (Wise, 1979) and, 28, 49; Star Wars (Lucas, 1977) and, 28, 49–50, 116, 118–19, 121, 146, 178; Trumbull, Douglas and, 49, 116, 122. See also sensory engagement
Gravity (Cuarón, 2013), 274
Great Train Robbery (Porter, 1903), 45
Green Lantern (Campbell, 2011), 269
Gulliver’s Travels (Fleischer, 1939), 46
Halloween (Carpenter, 1978), 229
Harold and Maude (Ashby, 1971), 66fig.
Harryhausen, Ray, 89, 94–95, 96, 209, 239, 240, 242–50, 284n50, 319n13, 319n15, 320n19
Haunted Hotel, The (Blackton, 1907), 44–45
Heavy Light (Beckett, 1973), 157, 158fig.
Hero with a Thousand Faces, The (Campbell), 147
Hindenburg, The (Wise, 1975), 69
Hobbit: An Unexpected Journey, The (Jackson, 2012), 259, 269
Howard Anderson independent house, 84–85
ILM (Industrial Light & Magic): aesthetics of, 68, 70, 90, 99, 100, 127–28, 146, 148–49, 240, 250, 295n90; Apogee and, 218, 232–33; blockbuster films, expanded and, 260; Boss Films and, 232–33; Bromberg, Betzy and, 314n5; as corporate entity, 131; Dykstra, John and, 177, 181, 216, 325n10; economic domination and, 3, 87, 205; Edlund, Richard and, 232–33, 325n10; Empire Strikes Back, The (Kershner, 1980) and, 65, 131, 205–214; experimental filmmaking and, 100, 164; as factory-like, 314n5; Future General effects company and, 126–27, 265; house style of, 127–28, 148–49, 177, 206, 240; independent houses and, 81, 215, 227; Jurassic Park (Spielberg, 1993) and, 66; Lucas, George and, 3, 87, 100; Lucasfilm Ltd. and, 63, 65; mission statement, unofficial, 208; Muren, Dennis and, 88, 89, 325n10; 1977 (post) and, 204–205; O’Neill, Pat and, 159–60; origins of, 63–64; photorealism and, 65–67, 68, 100, 146, 205, 206–207, 213, 214, 240, 250; Pirates of the Caribbean (Verbinski, 2003) and, 66; Raiders of the Lost Ark (Spielberg, 1981) and, 66, 67; Ralston, Ken and, 89; replicable efficiency and, 131; Return of the Jedi (Lucas, 1983) and, 99–100, 159, 206, 233; staff of, 89, 325n10; Star Wars (Lucas, 1977) and, 63–64, 65, 66–67, 99–100, 154; stop motion and, 90, 244, 319n3, 320n26; Tippett, Phil and, 89; Trumbull, Douglas and, 265, 267
Image Works (Sony’s), 238
independent houses (optical/title/effects): Close Encounters of the Third Kind (Spielberg, 1977) and, 122; digital-based houses vs., 238; Dykstra, John and, 81, 215; history of, 64; new effects artists and, 101; niche houses, 87–90; 1977 (post) and, 204–205, 215–16, 227–38; optical printing and, 85; outsourced work and, 85–86; overview of, 79–87; production companies and, 8–9; Star Wars (Lucas, 1977) and, 99, 122, 154, 308n31; studios and, 77, 277n15; West Coast experimental filmmakers and, 152. See also Apogee; Boss Films; Dream Quest; Future General effects company; Howard Anderson independent house; ILM (Industrial Light & Magic); Motion Graphics Inc.; niche houses; Praxis; Ray Mercer independent house; Trumbull Film Effects
Information International, Inc. (III), 93, 287n84
In Search of the Obelisk ride film, 256–57
Iron Man films (2008/2010), 11, 66
It Happened Tomorrow (Clair, 1944), 50
It’s a Mad, Mad, Mad, Mad World (Kramer, 1963), 83, 84, 96, 293n66
John Carter of Mars (Burroughs) series, 148
Jolly Green Giant television ads, 89
kineticism: Close Encounters of the Third Kind (Spielberg, 1977) and, 132, 183; experimental filmmaking and, 28, 153, 164; intellectual (quasi-), fusion with, 71; before motion control, 289n10; 1970s filmmakers and, 49, 180; sensory engagement and, 15; Star Wars (Lucas, 1977) and, 60, 68–69, 132, 133–34, 146, 167, 169, 178; Vorkapich, Slavko on, 118
King Kong (Cooper and Schoedsack, 1933), 36, 45, 69, 83, 89, 96, 207, 244, 281n18, 282n32, 319n13
King Kong (Jackson, 2005), 269
Kubrick, Stanley: as auteur, 326n19; as exciting filmmaker, 14; film stocks and, 139, 251–52; Harris, Mark on, 270–71; Pederson, Con and, 88; photorealism and, 24; science fiction and, 15; Trumbull, Douglas and, 88, 158–59, 251–52, 291n33; 2001: A Space Odyssey (1968) and, 70–74, 76, 111–12, 251, 284n46, 290n30, 310n60; visual impact and, 49, 117; Whitney, John, Sr. and, 88
Labyrinth (Henson, 1986), 240
Lapis (Whitney, James, 1966), 48
Last Action Hero, The (McTiernan, 1993), 238
Leonardo’s Dream (Trumbull, 1989), 257–58
Lincoln (Spielberg, 2012), 271
Long Beach State, 51, 124
Los Angeles Center College of Design, 95
Los Angeles Herald-Examiner, 255
Lucas, George: American Zoetrope and, 313n38, 313n48; as auteur, 112–13, 150; Bartlett, Scott and, 149–50, 151; Belson, Jordan and, 149–50, 151; CalArts (California Institute of the Arts) and, 164; Lucas (Continued) Campbell, Joseph and, 147, 306n6, 310n58; career of, 123–24, 125, 183, 308n22; on Coppola, Francis Ford, 306n10; critics on, 299n11; Dykstra, John and, 127, 133–34, 177, 213, 216, 315n31; Dykstraflex motion-control rig and, 317n61; Eisenstein, Sergei and, 117, 302n47; as exciting filmmaker, 14–15; experimental filmmaking and, 17, 57, 107, 149–51, 152, 153–54, 163, 164, 307n19, 308n22; on filmmaker as painter/sculptor, 265–66; film stocks and, 137; graphic dynamism and, 49, 105, 267; Harryhausen, Ray and, 250; ILM (Industrial Light & Magic) and, 3, 87, 100; influences on, 149–50, 151, 306n6; Information International, Inc. (III) and, 287n84; kineticism and, 180; MacKenna’s Gold (Thompson, 1969) and, 150; Muren, Dennis on, 209; as 1970s effects architect, 21; on opticals, 129; optimistic futurism and, 194, 197; photorealism and, 22–23, 24, 28; on science fiction fan base, 300n27; self-view and, 278n28, 306n10; sensory engagement and, 171; stop motion and, 209; studio-based techniques and, 69, 125–26; theater spaces and, 242, 252, 288n85, 314n2; Trumbull, Douglas and, 75, 126–27, 181, 311n8; USC (University of Southern California) and, 56, 124; as visual filmmaker, 105, 148, 171. See also Empire Strikes Back, The (Kershner, 1980); ILM (Industrial Light & Magic); Lucasfilm Ltd.; Phantom Menace (Lucas, 2012); Return of the Jedi (Lucas, 1983); Star Wars (Lucas, 1977); Star Wars: Episode III—Revenge of the Sith (Lucas, 2005); Star Wars: Special Edition (Lucas, 1997); THX-1138 (Lucas, 1971)
Lucasfilm Ltd., 3, 63, 65, 87, 125, 157, 159, 278n28, 308n31, 314n2. See also Lucas, George
MacKenna’s Gold (Thompson, 1969), 150
Malick, Terrence, 66, 105
Manhattan (Allen, 1979), 117
Manhunter (Mann, 1986), 260
Man with a Movie Camera (Vertov, 1929), 117
Man with the Rubber Head, The (L’Homme à la Tête en Caoutchouc) (Méliès, 1901), 31
Master, The (Anderson, 2012), 271
Masters of the Universe (Goddard, 1987), 238
Match Point (Allen, 2005), 26
mattes: in-camera techniques and, 281n22; disaster films (1970s) and, 78–79; Empire Strikes Back, The (Kershner, 1980) and, 213; experimental filmmaking and, 164; film stocks and, 214; lines and, 42, 142–44, 213, 230, 305n28, 316n50; paintings, 29, 33–34, 84, 96, 134, 279n3, 297n119; in Wolfen (Wadleigh, 1981), 229 fig. See also traveling mattes
Maya effects software, 93
McCabe and Mrs. Miller (Altman, 1971), 28–29
“Methods of Montage” (Eisenstein), 49
MGM (Metro-Goldwyn-Mayer): Borehamwood Studios (U.K.), 75; Clash of the Titans (Davis, 1981) and, 246, 247, 320n23; effects department, 78, 281n18, 283n33; front projection and, 291n31; Gillespie, Arnold “Buddy” and, 38, 291n42; 2001: A Space Odyssey (Kubrick, 1968) and, 74; United Kingdom (U.K.) outsourcing and, 77
Michelson, Annette, 71, 196
miniatures: Close Encounters of the Third Kind (Spielberg, 1977) and, 143–44, 185, 312n23; disaster films (1970s) and, 78; Dunn, Linwood and, 96; frame rates and, 294n73; Graphic Films and, 87, 88; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 84; King Kong (Cooper and Schoedsack, 1933) and, 36; Logan’s Run (Anderson, 1976) and, 86; 1941 (Spielberg, 1979) and, 79; 1970s (pre) films and, 306n2; as optical photographic technique, 29; process photography and, 33–34; Star Wars (Lucas, 1977) and, 131, 134, 147, 167–69; 2001: A Space Odyssey (Kubrick, 1968) and, 70, 74. See also models
Mission Impossible II (Woo, 2000), 269
models: Close Encounters of the Third Kind (Spielberg, 1977) and, 184, 185, 189; frame rates and, 241; Graphic Films and, 87; Harryhausen, Ray and, 246; 1970s (pre) films and, 306n2; optical animation and, 59, 60; Star Trek: The Motion Picture (Wise, 1979) and, 224, 225; Star Wars (Lucas, 1977) and, 147, 173, 301n39; 2001: A Space Odyssey (Kubrick, 1968) and, 74. See also miniatures
Moonraker (Gilbert, 1979), 74
motion control, 43, 59–60, 91–92, 131–32, 136, 170, 205, 284n50, 289n10, 295n95, 320n6. See also Compsy; Go-Motion; motion-control rig; motion tracking system (MTS); stop motion; individual film titles
Motion Picture Academy, Science and Technology committees, 81
Motion Pictures Inc., 228
motion tracking system (MTS), 136
Mr. Smith Goes to Washington (1939), 49
multipanel splitscreen printing, 96
Muppet Movie, The (Frawley, 1979), 67, 240
Muren, Dennis: Cascade Pictures and, 80, 88, 89; Close Encounters of the Third Kind (Spielberg, 1977) and, 185; Dream Quest and, 231–32; Dunn, Linwood and, 297n119; Empire Strikes Back, The (Kershner, 1980) and, 208, 209, 212–13, 305n28; E.T. the Extra-Terrestrial (Spielberg, 1982) and, 88, 231–32; Go-Motion and, 210; ILM (Industrial Light & Magic) and, 88, 89, 325n10; Jurassic Park (Spielberg,1993) and, 88; on Lucas and stop motion, 209; on mattes, 142; on spaceship motion, 315n9; Star Wars (Lucas, 1977) and, 90, 154, 207; War of the Worlds (Spielberg, 2005) and, 81
Muybridge, Eadweard James, 210
narrative: blockbuster films and, 109, 120, 122, 273–74, 318n94; Bukatman, Scott and, 266; Close Encounters of the Third Kind (Spielberg, 1977) and, 106, 120; Expanded Cinema and, 58; high-concept aesthetics and, 110; shifts, 107; special effects and, 69, 312n30, 318n94; Star Wars (Lucas, 1977) and, 106, 120, 176, 178, 301n39, 303n51; 2001: A Space Odyssey (Kubrick, 1968) and, 120; visual and, 71, 113
Nashville (Altman, 1975), 12, 22, 122
naturalistic aesthetics (1970s), 2, 22
New Hollywood: auteurism and, 1, 2, 105; filmmaking styles, 66–67, 122; heydey of, 111; influences on, 123; location photography and, 39; narrative and, 107; sensory engagement and, 15; Star Wars (Lucas, 1977) and, 301n39; vs. studio aesthetics, 22, 39
New Magic (Trumbull, 1983), 255–56
New World Pictures, 81, 123
Nightmare on Elm Street, A (Craven, 1984), 240
Night of the Dreams (Showscan film), 255
Nine to Five (Higgins, 1980), 228
Olympia (Riefenstahl, 1938), 49
One Flew Over the Cuckoo’s Nest (Forman, 1975), 263
One from the Heart (1982, Coppola), 219, 231–32
O’Neill, Pat: Abel, Robert and, 91; animation and, 17, 28, 57, 151; Blalack, Robert and, 228; CalArts (California Institute of the Arts) and, 152, 155; composite imagery and, 161; Dunn, Linwood and, 97, 155, 161; effects houses and, 64; experimental filmmaking and, 51, 52, 97; films of, 162; “Future of Special Effects and Animation, The” (lecture series) and, 297n117; graphic dynamism and, 116; ILM (Industrial Light & Magic) and, 159–60; imagery impact and, 48; Le Grice, Malcolm and, 286n71; Lookout Mountain Films and, 80, 155, 159; Lucasfilm Ltd. and, 157, 159; optical printing and, 56, 155, 157, 230, 287n77; Sitney, P. Adam on, 52–55; special effects industry and, 152, 156; Star Wars (Lucas, 1977) and, 155–57; technophilia and, 196; Youngblood, Gene on, 53–55. See also Sweet Sweetback’s Baadasssss Song (Van Peebles, 1971)
One Man Band, The (L’Homme Orchestre) (Méliès, 1900), 31, 32fig.
optical printing: Acme-Dunn optical printer, 37; CalArts (California Institute of the Arts) and, 154; Citizen Kane (Welles, 1941) and, 284n48; Close Encounters of the Third Kind (Spielberg, 1977) and, 130, 154, 302n44; definition of, 29; Dunn, Linwood and, 36, 37, 83, 96, 98, 280n10, 281n18, 283n36, 292n59; Edouart, Farciot and, 280n15; Empire Strikes Back, The (Kershner, 1980) and, 212, 213; experimental filmmaking and, 55–56, 152, 154, 164; film stocks and, 136–37; Fulton, John and, 36, 281n18, 292n60; independent houses and, 85; Love, Cecil and, 37; O’Neill, Pat and, 56, 155, 157, 230, 287n77; single-head optical printer, 41fig.; Sitney, P. Adams on, 52–53; Star Wars (Lucas, 1977) and, 68–69, 134, 154, 302n44; studio-era, 40–43, 280n12; 2001: A Space Odyssey (Kubrick, 1968) and, 70, 290n30, 292n63; updated version of, 42–43; Whitneys and, 287n77
opticals: animation and, 23, 29, 58–62, 173, 267, 268; composites and, 31–33; continued appeal of, 269; decline of, 37; definition of, 30; as dominant technology 1970s to 1990s, 74; effects, 40, 82; as effects era, 281n20; Gillespie, Arnold “Buddy” and, 283n33; history and techniques of, 29–37; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 293n66; Lucas, George on, 129; vs. optics, 281n19; as outsourced effects work, 79–80; photorealism and, 268; 2001: A Space Odyssey (Kubrick, 1968) and, 284n46. See also composites; in-camera methods; mattes; optical photography; optical printing; process photography; rear projection
Orca (Anderson, 1977), 86
Outbreak (Petersen, 1995), 238
Outland (Hyams, 1981), 67
Pacific Data Images (Disney’s), 238
painting analogy, special effects and, 265–66
paradigms of special effects, 27, 29
Parallax View, The (Pakula, 1974), 263
Paramount Decrees (1938–1948), 63
periodization of cinema history, 7–8
Permutations (Whitney, John, Sr., 1968), 167
Phantom Menace (Lucas, 2012), 8–9
Photographic Society of America, 95
photographic vs. animation aesthetics, 61–62
photorealism: Close Encounters of the Third Kind (Spielberg, 1977) and, 24, 57, 130, 145; definition and history of, 10–12; divergence from, 264; Edlund, Richard and, 13, 233; Empire Strikes Back, The (Kershner, 1980) and, 148, 206–207, 213, 214; ILM (Industrial Light & Magic) and, 65–67, 68, 100, 146, 205, 206–207, 213, 214, 240, 250; Lucas, George and, 22–23, 24, 28; mattes and, 143; 1970s and, 130; opticals and, 268; practitioner rhetoric on, 25; Return of the Jedi (Lucas, 1983) and, 148; return to, 272; shifts and, 23–24, 25, 244–45; Star Wars (Lucas, 1977) and, 23–24, 130, 145, 146, 147, 148, 171–72, 178; stop motion and, 90, 249–250; 2001: A Space Odyssey (Kubrick, 1968) and, 11, 24, 70–71, 72, 129–30
Pirates of the Caribbean (Verbinski, 2003), 66
Poltergeist (Spielberg, 1982), 233
practitioner discourse, 13, 25, 38
puppetry: animation and, 295n87; Cascade Pictures and, 89; Clash of the Titans (Davis, 1981) and, 248; Empire Strikes Back, The (Kershner, 1980) and, 208–210, 211, 212; Ghostbusters (Reitman, 1984) and, 235–36; King Kong (Guillermin, 1976) and, 86; Labyrinth (Henson, 1986) and, 240; Muppet Movie, The (Frawley, 1979) and, 67, 240; as special effects, 67, 319n2
Raiders of the Lost Ark (Spielberg, 1981), 66, 67, 145
Ray Mercer independent house, 80, 84–85
Research Council of the Academy, 37
“Rhapsody in Blue” (Gershwin), 117
Robert Abel and Associates, 75, 80, 88, 91–93, 132–33, 215, 222–23, 233, 295n95, 316n53, 317n57
RoboCop (Verhoeven, 1987), 195, 240
Rocky (Avildsen, 1976), 117
rotoscoping: animation and, 44, 46–48, 67; Beckett, Adam and, 157, 160; definition of, 29; diagram, 47fig.; as digital animation technique, 285n59; for digital “clean up,” 285n61; experimental filmmaking and, 164; Ghostbusters (Reitman, 1984) and, 237; history and techniques of, 46–48; Star Wars (Lucas, 1977) and, 48, 167, 169, 294n74
Safety Last! (Neymeyer, 1923), 84
science fiction literature, 194–95
Searchers, The (Ford, 1956), 137
sensory engagement: affect theory and, 276n8; Brainstorm (Trumbull, 1983) and, 258–59; Close Encounters of the Third Kind (Spielberg, 1977) and, 186, 198; experimental filmmaking and, 53, 55, 166; filmmakers and, 15, 16, 196; graphic dynamism and, 15, 49; Lapis (Whitney, James, 1966) and, 48; Lucas, George and, 171; New Hollywood and, 15; Saugus Series (O’Neill, 1974) and, 48; Star Wars (Lucas, 1977) and, 169, 178; Trumbull, Douglas and, 253, 266; 2001: A Space Odyssey (Kubrick, 1968) and, 117
7th Voyage of Sinbad, The (Juran, 1958), 243
7362 (O’Neill, 1965– 66), 53
70mm film stock: Dunn, Linwood and, 83; Edlund, Richard and, 233–34; expense of, 305n41; image quality and, 32, 136–37; Kubrick, Stanley and, 139, 251–52; Master, The (Anderson, 2012) and, 271; Showscan and, 241; Trumbull, Douglas and, 138–39, 181, 252, 253, 254
She (Holden and Pichel, 1935), 96
Shoot the Piano Player (Truffaut, 1960), 49
Sidewinder’s Delta (O’Neill, 1976), 97, 162
Single Wing Turquoise Bird light show musical performance, 163
6/18/67 (Lucas, 1967), 150
Snow White (Disney, 1937), 45
Sony Pictures Image Works, 238
Sound Technology and the American Cinema (Lastra), 13
special effects: aesthetic demands and, 27–28; before and after Star Wars (Lucas, 1977), 68–69; authorship struggles and, 101, 113, 126; as change force, 6, 7–8; classical style, 21–22; definition of, 8; distinct historical eras and, 281n20; dystopias and, 263–64; economic aspects of, 197, 260–62; history of, 2, 64–65, 288n4; Hollywood and, 265; international films and, 324n77; narrative and, 69, 312n30, 318n94; 1980s and, 67, 69, 234–35; 1970s (post) and, 68–69, 205, 271, 276n9; 1970s (pre) and, 29–43, 68–69; photographic base of, 61; production process and, 8–9, 14, 26, 29, 272, 315n28; realism and, 11–12, 278n25; star artists and, 239; topos and, 5; units vs. directors, 115–16. See also experimental filmmaking; makeup, special effects; puppetry; studio-era special effects; individual film titles
Specialist, The (Llosa, 1994), 238
Species (Donaldson, 1995), 238
Spielberg, Steven: as auteur, 112–13; career of, 123–25, 183; on Close Encounters vs. Jaws, 114, 179; critics on, 299n11; as exciting filmmaker, 14–15; experimental filmmaking and, 17, 57, 152; on 5247 film stock, 144; graphic dynamism and, 105; Harryhausen, Ray and, 250; Hitchcock, Alfred on, 267, 325n9; kineticism and, 180; optimistic futurism and, 194; photorealism and, 22–23, 24, 28; sexualized effects terms and, 312n24; Star Wars (Lucas, 1977) and, 123; studio-based techniques and, 69, 125–26; television and, 124; Trumbull, Douglas and, 181, 184–85, 253, 311n21; as visual filmmaker, 105. See also Close Encounters of the Third Kind (Spielberg, 1977); Jaws (Spielberg, 1975); 1941 (Spielberg, 1979)
Stagecoach (Ford, 1939), 188–89
Star Trek (television), 83, 85, 86
Star Trek: The Motion Picture (Wise, 1979): Abel, Robert and, 93, 223; Apogee and, 219, 222, 223–25; Dykstra, John and, 223–27, 304n12; Future General effects company and, 93, 223–24; graphic dynamism and, 28, 49; opening sequence, 170, 225fig.; Trumbull, Douglas and, 87, 93, 223–27, 258, 304n12; V’Ger sequence, 28, 46, 223, 224, 226fig., 258, 266
Star Wars (Lucas, 1977): aesthetics of, 108, 115, 125, 149, 162, 171–72; Allures (Belson, 1961) and, 166–67; animation and, 150, 154, 157, 160, 167, 169, 173; auteurism and, 106; Beckett, Adam and, 99, 155, 157, 160, 164, 165fig., 219; as blockbuster film, 113–16; California Institute of the Arts (CalArts) and, 51, 160, 309n45; Cascade Pictures and, 89; cinema history and, 106–109; cinematic diegesis and, 106–107; vs. Close Encounters of the Third Kind (Spielberg, 1977), 182–83, 185–86, 198–99, 265; color and, 140; as documentary fantasy, 149, 171–72; Dykstra, John and, 43, 65, 127, 131, 133–34, 154, 177, 181; Dykstraflex motion-control rig and, 76; Edlund, Richard and, 154, 303n56; effects team recruitment and, 99; experimental filmmaking and, 146–47, 151–61, 162, 164, 301n39; film stocks and, 137–38; financing and production of, 114, 147; genesis of, 147–48; graphic dynamism and, 28, 49–50, 116, 118–19, 121, 146, 178; ILM (Industrial Light & Magic) and, 63–64, 65, 66–67, 99–100, 154; independent houses and, 99, 122, 154, 308n31; industry change and, 14; kineticism and, 60, 68–69, 132, 133–34, 146, 167, 169, 178; locked-down camera and, 68–69; Lucas, George and, 99, 124, 148–51, 177, 181, 267, 298n1, 298n5, 303n51, 307n19, 308n27, 326n12; mattes and, 143; miniatures and, 131, 134, 147, 167–69; models and, 147, 173, 301n39; montage and, 301n39; motion control and, 68–69, 90, 131–36, 169, 207; Muren, Dennis and, 90, 154, 207; narrative and, 106, 120, 176, 178, 301n39, 303n51; New Hollywood filmmaking and, 301n39; 1970s filmmaking surveys and, 298n7; O’Neill, Pat and, 155–57; opening sequence of, 169, 172–77, 261; optical animation and, 173; optical printing and, 68–69, 134, 154, 302n44; optimistic futurism and, 194, 198; photorealism and, 23–24, 130, 145, 146, 147, 148, 171–72, 178; as postproduction model, 272; reviews of, 111, 300n20; rotoscoping and, 48, 167, 169, 294n74; sensory engagement and, 169, 178; sequels and, 67, 197; special effects and, 23, 68–69, 108, 119fig., 121, 130–36, 161fig., 163, 168fig., 276n9; Spielberg, Steven and, 123; stop motion and, 207, 208–212; studio-based techniques and, 69, 125–26; Trumbull, Douglas and, 126; 2001: A Space Odyssey (Kubrick, 1968) and, 148, 176; United Kingdom (U.K.) and, 75; Van Der Veer Photo Effects and, 294n74; virtual camera effect and, 43
Star Wars: Episode III—Revenge of the Sith (Lucas, 2005), 274
Sting, The (Hill, 1973), 281n22
stop motion: blockbuster films, expanded and, 260; Cascade Pictures and, 80, 87, 88–90; cinema’s first decade and, 44–45; decline of, 319n9; definition of, 29; Dynamation, 284n50; Empire Strikes Back, The (Kershner, 1980) and, 90, 207–12; fan cults and, 89, 94–95, 242, 243; ILM (Industrial Light & Magic) and, 90, 244, 319n3, 320n26; Lucas, George and, 209; Méliès, Georges and, 44; Muren, Dennis and, 88–89, 207; 1980s and, 67, 240, 243; overview of, 241–50; photorealism and, 90, 249–50. See also Danforth, Jim; Go-Motion; Harryhausen, Ray; motion control; O’Brien, Willis; Williams Process; individual film titles
Strategic Air Command (Mann, 1955), 41, 289n10
structuralist movement, experimental cinema, 48
studio-era special effects: artist-technicians and, 151; departments, 27, 77, 115, 281n18; dialogue and, 34–35; digital technologies vs., 277n10; disaster films (1970s) and, 78, 154; experimental filmmakers and, 50; limitations of, 26; Lucas, George and, 69, 125–26; naturalistic films and, 21–22; 1930s (pre) effects divisions and, 277n15; optical printing and, 40–43, 280n12; process photography and, 35–36, 37–40; rear projection and, 29–30, 39; Spielberg, Steven and, 69, 125–26; unions and, 50, 152–53. See also Dunn, Linwood; Edouart, Farciot; Fulton, John; Gillespie, Arnold “Buddy”; Jackman, Fred; O’Brien, Willis
Sugarland Express, The (Spielberg, 1974), 124
Sullivan’s Travels (Sturges, 1941), 38
Super 8 (Abrams, 2011), 81, 271
Sweet Sweetback’s Baadasssss Song (Van Peebles, 1971), 52, 155, 156fig., 230
technological aesthetic paradigm, 27
television: Abel, Robert and, 91–92, 93, 295n94, 299n16; ads, 89, 91–92, 93, 132–33, 145; filmmakers who began in, 110; independent houses and, 80, 81, 85, 153; Robert Abel and Associates and, 75, 91–92; science fiction popularity and, 194–95; Scott, Ridley and, 110; Spielberg, Steven and, 124; Van Der Veer Photo Effects and, 86; Westheimer, Joseph and, 293n71
Ten Commandments, The (DeMille, 1956), 36
Terminator 2: Judgement Day (Cameron, 1991), 5, 88, 261
Terminator Salvation (“McG,” 2009), 66, 100
There Will Be Blood (Anderson, 2007), 271
Thief of Baghdad (Berger et. al., 1940), 75
Thing, The (Carpenter, 1982), 67, 240
three-color separation, 139–42
To Catch a Thief (Hitchcock, 1955), 23, 34
Top Gun (Scott, 1986), 110, 234
topos, special effects as, 5
To the Moon and Beyond (World’s Fair film), 88
traveling mattes: decreased use of, 37; It’s a Mad, Mad, Mad, Mad World (Kramer, 1963) and, 84; O’Neill, Pat and, 97; optical printing and, 36; pioneers of, 64; principles of, 33, 34fig., 282n24; rotoscoping and, 47; Van Der Veer Photo Effects and, 293n70; Williams process and, 305n27; Wolfen (Wadleigh, 1981) and, 229–30
trick filmmakers, early-twentieth-century, 31
Trip to the Moon (Méliès, 1902), 186
True Lies (Cameron, 1994), 238
Truffault, François, 2, 49, 105
Trumbull, Douglas: Abel, Robert and, 93, 316n54; amusement park “ride films” and, 256–57; as auteur, 126, 239, 253, 279n30; Blalack, Robert and, 228; Bukatman, Scott and, 186, 301n40; Cameron, James and, 311n16; career of, 180–82; cinematic environments and, 294n76; cinematic technology as worldview, 266–67; on digital technologies, 252; Dream Quest and, 231; Dunn, Linwood and, 297n119; Dykstra, John and, 131, 177, 181, 304n12; on the Dykstraflex, 133; effects authorship struggles and, 101, 127; Entertainment Effects Group (EEG) and, 224, 233; experimental film and, 51; film frames and, 266; film stocks and, 137–39, 181; frame rates and, 254; graphic dynamism and, 49, 116, 122; Graphic Films and, 80, 87–88; high definition (HD) and, 323n57; ILM (Industrial Light & Magic) and, 265, 267; IMAX and, 137, 182, 252, 257, 291n35, 322n54, 324n67; industry impact and, 75, 76; Jackson, Peter and, 311n16; Kubrick, Stanley and, 88, 158–59, 251–52, 291n33; Lucas, George and, 75, 126–27, 181, 311n8; mattes and, 143; motion tracking system (MTS) and, 136; multi-plane animation stand and, 46; Novros, Lester and, 88; optimistic futurism and, 196; sensory engagement and, 253, 266; 70mm and, 138–39, 181, 252, 253, 254; Showscan and, 75, 139, 181, 240–41, 253, 254–59, 322n54; on special effects aesthetics, 264–65; Spielberg, Steven and, 181, 184–85, 253, 311n21; Taylor, Richard Winn and, 317n57; technology and, 324n72; theater spaces and, 252; on video industry, 321n39; virtual environments and, 267; visual effects supervisors and, 325n10; Whitney, John, Sr. and, 88; Youngblood, Gene and, 268. See also Blade Runner (Scott, 1982); Brainstorm (Trumbull, 1983); Close Encounters of the Third Kind (Spielberg, 1977); Future General effects company; Leonardo’s Dream (Trumbull, 1989); New Magic (Trumbull, 1983); Silent Running (Trumbull, 1972); Star Trek: The Motion Picture (Wise, 1979); Star Wars (Lucas, 1977); Trumbull Film Effects; Trumbullflext; 2001: A Space Odyssey (Kubrick, 1968)
Trumbull Film Effects, 311n9
2001: A Space Odyssey (Kubrick, 1968): animation and, 70; Dunn, Linwood and, 96, 136–37; as effects benchmark, 64–65, 272; effects shots and, 276n9; Howard, Tom and, 75; Kubrick, Stanley and, 70–74, 76, 111–12, 251, 284n46, 290n30, 310n60; Lightman, Herb and, 72, 74, 76; Michelson, Annette and, 71, 196; miniatures and, 70, 74; models and, 74; music and, 71; narrative and, 120; optical printing and, 70, 290n30, 292n63; opticals and, 284n46; overview of, 70–76; Pederson, Con and, 75, 87; photorealism and, 11, 24, 70–71, 72, 129–30; sensory engagement and, 117; special effects technology and, 132; “Star Gate” sequence and, 28, 49, 71, 132, 158–59, 276n8, 310n60; Star Wars (Lucas, 1977) and, 148, 176; Trumbull, Douglas and, 87, 132, 184–85, 225, 226, 258; vs. 2010 (Hyams, 1984), 235; United Kingdom (U.K.) and, 75, 76, 88; Variety on, 300n20; youth and, 81
UCLA (University of California, Los Angeles), 56, 91, 117, 153, 163
Understanding Media (McLuhan), 193
University of California, Irvine, 51
Van Peebles, Melvin, 52, 155
virtual camera effect, 43, 46
visual effects, definitions of, 5–6, 8–9
Visual Effects Society, 8, 80, 81
War Horse (Spielberg, 2011), 271
War of the Worlds (Spielberg, 2005), 81
Water and Power (O’Neill, 1989), 162
Waterworld (Reynolds, 1995), 238
Wavefront effects software, 93
West Coast abstract filmmakers, 48
West Coast art movements, 16–17
West Side Story (Wise, 1961), 83, 96
When Dinosaurs Ruled the Earth (Guest, 1970), 89, 242
Where Danger Lives (Farrow, 1950), 96
Whitney, James: Abel, Robert and, 91; abstract experimental animation and, 17; abstract imaging trend and, 153; computer-assisted movement and, 170; Eastern spiritualism and, 286n75; effects houses and, 64; experimental filmmaking and, 51; imagery impact and, 48; Lapis (1966) and, 48; Motion Graphics Inc. and, 153; optical printing and, 56, 287n77; special effects industry and, 152
Whitney, John, Sr.: Abel, Robert and, 91; abstract experimental animation and, 17; abstract imaging trend and, 153; American Cinematographer magazine and, 307n20; computer-assisted movement and, 170; Digital Harmony and, 193; Dunn lectures and, 97; effects houses and, 64; experimental filmmaking and, 51; “Future of Special Effects and Animation, The” (lecture series) and, 297n117; graphic dynamism and, 116; imagery impact and, 48; Motion Graphics Inc. and, 80, 88, 153; optical printing and, 56, 287n77; Permutations (1968), 167; special effects and, 151, 152; streak effects and, 307n20; technophilia and, 196; Trumbull, Douglas and, 88; Vertigo (Hitchcock,1958) and, 50, 152–53
widescreen technologies, 322n43
Williams Composite Laboratories, 64
Wilson, Diana and David, 152
Written on the Wind (Sirk, 1956), 38–39
Xanadu (Greenwald, 1980), 67, 93
Youngblood, Gene: Eastern spiritualism and, 195; Expanded Cinema and, 16, 193, 260, 279n29, 321n38; experimental filmmaking and, 53, 113, 163; New Hollywood auteurs and, 286n74; O’Neill, Pat and, 53–55; technophilia and, 196; Trumbull, Douglas and, 268; Vorkapich, Slavko and, 117
youth culture events, 16, 92
Zapped! (Rosenthal, 1982), 228