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| What impact did WW11 have on film noir's development |
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| United States vs Paramount |
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| low key lighting and chiaroscuro |
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| emphasizes shadow and dark lighting to create depth |
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| opposite key, fills shdows |
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| seperates subject from background |
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Patricia - Jean Seberg
Michel - Jean-Paul Belmondo |
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| Les Mistons date and director |
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| director touch of evil & date |
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| main characters touch of evil |
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Mike Vargas - Charlton Heston
Susan Vargas - Janet Leigh |
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| Rear Window director and date |
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L.B. "Jeff" Jefferies - Jimmy Stewart
Lisa Freemont - Grace Kelly |
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| The fighter director and date |
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| when the black comes from the sides until there is only a small circle |
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| jarring transition btw shots. can radically change events |
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| Francois Truffaut's Les Mistons 1957 |
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| where the horizontal lines appear slanted used to suggest disorentation. looking down shot. |
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| series of vrief shots used to represent a condensation of subjects and time. |
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| editing that goes btw two events suggesting they are related |
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| who was mostly associated with vista vision |
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| multidynamic image technique |
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| relationship btw 1 movie and annother |
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| fillm truth. Documentary filmking in france early 1960 who wanted to capture films in truth |
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| relationship between one work and another |
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| a condensed description of the content of a proposed film, often written in paragraphs and without dialogue |
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