Film Production Theory2000

Bazin, Andr , 154, 162, 178, 179, 180, 184, 240-250
Beauviala, Jean-Pierre, 198, 199
Bell, Daniel, 16, 20
Belton, John, 205
Benjamin, Walter, 192
Benveniste, Emile, 105
Beresford, Bruce, 243
Berger, John, 209
Bergman, Ingmar, 15, 29, 111, 145, 167, 257
Bergson, Henri, 44, 103, 104, 247, 252
Bestand (Heidegger), 114
Best Years of Our Lives, The, 245
Bicycle Thief, The, 92
Big Parade, The, 82
Blanchot, Maurice, 150
Block, Mitchell W., 62, 75
Bloom, Allan, 77
Bloom, Harold Jack, 86
Blue Velvet, 43
Bonitzer, Pascal, 202, 241, 248
Bonnie and Clyde, 63
Booth, Wayne C., 32, 193, 194
Bordwell, David, 230, 252
Botticelh, Sandro, 71, 72
Bound, 21
Breaker Morant, 243
Breaking the Waves, 139, 140
Brecht, Bertolt, 132-134, 136, 201
Bresson, Robert, 134, 135, 177, 182, 183, 185, 198, 204, 210
Brook, Peter, 124
Brown, Garrett, 21
Brown, Harry, 87
Brunelleschi, Filippo, 152
Bryson, Norman, 71
Bu uel, Luis, 89, 121, 145, 146, 221, 224
Burch, Noel, 183, 184, 227, 240
Burke, Edmund, 128
C
Cahiers du Cin ma, 86, 87
Calder n, Pedro, 37
California Split, 217
Camera Buff, 52
Cam ra stylo (Astruc), 93
Cameron, James, 105
Camouflage, 52
Camus, Albert, 233
Captive Mind, The, 52
Caravaggio, Michelangelo da, 153, 154
Carn , Marcel, 112
Carpenter, John, 87
Carri re, Jean-Claude, 89, 95, 97
Cartlidge, Katrin, 138
Cassavetes, John, 108, 138
Cayrol, Jean, 214
Cendrars, Marcel, 114
C zanne, Paul, 44, 51, 123
Chase, The, 125
Cheat, The, 156
Chiaroscuro lighting, 153-154
Chinatown, 63
Chion, Michel, 204, 206, 207, 208, 215, 217
Choix des armes, Le, 206
Chronicle of a Summer, 39
Chytilov , Vera, 12
Cimino, Michael, 152
Citizen Kane, 69, 94, 244, 245
Collard, Cyril, 192
Color of the Pomegranates, The, 67
Columbia University, 66, 95, 134
Continuity, 118, 122, 226-229
Conversation, The, 63
Cook, Philip J., 6, 8
Cool Hand Luke, 98
Copeau, Jacques, 132
Coppola, Francis Ford, 63, 98, 205, 255
Corneau, Alain, 206
Counterculture, 3, 9-16, 60

 

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