Name | File | Manuscript |
Actors and Performance in Do the Right Thing (excerpt) | video_film_ch1_1.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_1_dlap.xml | 54199aef757a2e9224000000 |
An Editing Tutorial in Man with a Movie Camera | video_film_ch1_2.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_2_dlap.xml | 54199aef757a2e9224000000 |
Avant-Garde Visions in Meshes of the Afternoon | video_film_ch1_3.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_3_dlap.xml | 54199aef757a2e9224000000 |
Blocking in Do the Right Thing (excerpt) | video_film_ch1_4.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_4_dlap.xml | 54199aef757a2e9224000000 |
Cinematography: Framing and Offscreen Space in M (excerpt) | video_film_ch1_5.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_5_dlap.xml | 54199aef757a2e9224000000 |
Cinematography: Good Vs. Evil in M (excerpt) | video_film_ch1_6.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_6_dlap.xml | 54199aef757a2e9224000000 |
Cinematography: Meaning through Images in M | video_film_ch1_7.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_7_dlap.xml | 54199aef757a2e9224000000 |
Cinematography: The Spiral Image in M (excerpt) | video_film_ch1_8.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_8_dlap.xml | 54199aef757a2e9224000000 |
Costumes and Props in Do the Right Thing (excerpt) | video_film_ch1_9.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_9_dlap.xml | 54199aef757a2e9224000000 |
Distance and Angles in Vertigo (excerpt) | video_film_ch1_10.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_10_dlap.xml | 54199aef757a2e9224000000 |
Formal Play in Ballet Mécanique | video_film_ch1_11.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_11_dlap.xml | 54199aef757a2e9224000000 |
Frames and Framing in Vertigo (excerpt) | video_film_ch1_12.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_12_dlap.xml | 54199aef757a2e9224000000 |
Framing, Camera Angles, and Special Effects in Vertigo | video_film_ch1_13.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_13_dlap.xml | 54199aef757a2e9224000000 |
Mise-en-scene in Do the Right Thing | video_film_ch1_14.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_14_dlap.xml | 54199aef757a2e9224000000 |
Mise-en-scene in Fantastic Mr. Fox | video_film_ch1_15.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_15_dlap.xml | 54199aef757a2e9224000000 |
Montage in Battleship Potemkin and The Untouchables | video_film_ch1_16.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_16_dlap.xml | 54199aef757a2e9224000000 |
Patterns of Editing in Bonnie and Clyde (1967) | video_film_ch1_17.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_17_dlap.xml | 54199aef757a2e9224000000 |
Plot and Narration in Apocalypse Now | video_film_ch1_18.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_18_dlap.xml | 54199aef757a2e9224000000 |
Props in Fantastic Mr. Fox (exceprt) | video_film_ch1_19.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_19_dlap.xml | 54199aef757a2e9224000000 |
Reshaping Genre in Chinatown | video_film_ch1_20.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_20_dlap.xml | 54199aef757a2e9224000000 |
Sets and Settings in Do the Right Thing (excerpt) | video_film_ch1_21.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_21_dlap.xml | 54199aef757a2e9224000000 |
Special Effects & Animation in Vertigo (excerpt) | video_film_ch1_22.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_22_dlap.xml | 54199aef757a2e9224000000 |
The Climatic Sequence in Do the Right Thing (excerpt) | video_film_ch1_23.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_23_dlap.xml | 54199aef757a2e9224000000 |
The Contemporary Documentary: Exit through the Gift Shop | video_film_ch1_24.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_24_dlap.xml | 54199aef757a2e9224000000 |
The Handcrafted Details in Fantastic Mr. Fox (excerpt) | video_film_ch1_25.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_25_dlap.xml | 54199aef757a2e9224000000 |
The Western and Genre Revisionism: Comparing True Grit (1969) and True Grit (2010) | video_film_ch1_26.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_26_dlap.xml | 54199aef757a2e9224000000 |
The Vertigo Effect: Zooms and Tracks (excerpt) | video_film_ch1_27.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_27_dlap.xml | 54199aef757a2e9224000000 |
Taxi Driver and New Hollywood | video_film_ch1_28.html | 54199aef757a2e9224000000 |
DLAP questions | video_film_ch1_28_dlap.xml | 54199aef757a2e9224000000 |