Index
237 Acconci, Vito, xi, 30, 35, 48, 87, 180, 197 Alien (1979), 53 Aliens (1986), compared to The Hurt Locker, 162 Allen, Woody, 51, 55 All That Heaven Allows (1955), 10, 14 American Friend, The, 7 Anger, Kenneth, xii, 90, 215 Annie Hall (1977), 8 Apocalypse Now (1979), compared to The Hurt Locker, 147, 157, 171, 202 Art & Language, 19, 48, 62, 87, 140, 208 Artforum, xi Auteur, auteur theory, 3, 48, 132, 136, 181 Avatar (2009), ix A.V. Club, The, ix, xv Bahiana, Ana Maria, xii Bako, Brigitte, in Strange Days, 81 Baldessari, John, 113, 180 Barthes, Roland, 76 Bassett, Angela, in Strange Days, 74, 93, 94, 96, 99, 104, 105, 130, 139 Battle of Algiers, The (1966), compared to The Hurt Locker, 171, 206 Battleship Potemkin (1925), 14 Best Years of Our Lives, The (1946), compared to The Hurt Locker, 171 Biehn, Michael, 52 Big (1988), 46 Bigelow, Kathryn: abstract expressionism and, 18, 40, 92, 129; Academy Awards for The Hurt Locker, reaction to, 218; action films and, 22, 42, 110; action scene design, 78–82; actor in Born in Flames, 88; actor in “Martini Ranch” video, 115; actor in Lawrence Weiner films, 88; actors and, 6, 7, 9, 15–16, 22, 51–52, 56–57, 86, 109, 147–48; art, audience , commerce, and compromise , xiii, 23, 37, 58, 62–63, 67, 76, 92, 216; athleticism of, 81, 139, 198; Best Director Academy Award acceptance speech, 212; B movies, influence of, 58, 129, 132; breakout actors, preference for, 148, 179, 216; California Institute of Arts, teaching at, 41, 96, 113, 180; catharsis in film, 39, 74, 102, 107; character, importance of, 7, 19, 22, 26, 29, 33, 44, 47, 48, 54–55, 63, 70, 71, 75, 78, 93–94, 102, 105, 110, 112, Index 238 index 118, 148, 168, 197; on clichés and stereotypes, 31, 69, 101, 133, 187; on collaborative process, 119, 133, 144, 166, 199, 212, 213–14, 217–18; Columbia University graduate film school, xi, 22, 26, 34–35, 41, 45, 48, 67, 88–89, 95, 107, 113–14, 132, 140, 180, 184, 207, 209–10, 213; commodification of culture, 19, 92, 96; conceptual art, influence of, 35, 48, 88, 96, 180, 185, 216; on editing process, 28, 33, 44, 64, 80, 96, 111, 127, 145, 170, 188, 190, 201, 218, 228; elite groups, interest in, 76, 182, 187–88, 197, 199; elitism of art, 49, 62, 67, 70, 90, 114, 140, 185, 216; entertainment with a conscience, xiii, 47, 58, 65, 106, 114, 116; escapism and, 74, 76, 98; females in traditionally male roles, 12, 13, 47, 61, 66, 68, 71, 101, 115, 230; feminism and, 47; filmmaking style, ix, xiii, 54–55, 95; Milos Forman as teacher, xi, 22, 35, 48, 67, 206; found objects and, 87; gender and women filmmakers, 34, 40, 47, 60, 61, 64, 65, 66, 67, 69, 72– 73, 94, 105, 107–8, 110–11, 117, 135, 139, 191–92, 216–17; genre and, 31–32, 46, 168, 180–81, 206, 216; on geography and action sequences, 54, 78, 79, 144, 148, 150, 151, 170, 173, 183, 201; independent filmmaking, merits of, 149; on individual vs. collective, 58–59, 99; Inside, shooting of, xv, 161; instinctive method, 132, 145; on interest in film, 35, 70, 92, 96; lens choices, 84; lighting strategies, 86; masculine qualities , attraction to, 13, 47, 68, 101, 139; movies as political scapegoats , 94; on myth and film, 57; narrative and, 54–55, 70, 90, 185, 214; New York University, graduate student at, 113; on noir, xiv, 19, 38, 73, 74, 76, 87, 95, 96, 99, 102; as outsider, 107; painting, visual arts background and, x, 21, 35, 40, 48, 50, 70, 86, 92, 95, 96, 105, 107, 112, 116, 145, 180; parents and family, 14, 86, 113, 118; peak experience, attraction of, xiv, 65, 74, 76, 114, 159, 168, 169, 181, 186–87, 196, 197; physical appearance of, x, 17, 20, 26, 27, 47–48, 105, 109, 110, 117, 169, 196, 204; POV sequences, 54, 77, 79–81, 93, 192; on propaganda, 58, 224; realism and, ix, xv, xvi, 86, 123, 144, 145, 147, 148, 152, 158, 165–66, 169, 174, 182, 183–84, 188; Edward Said as teacher, 96; San Carlos, Calif., upbringing in, x, 30, 35, 44, 48, 86, 107, 113, 115, 131, 197, 207; San Francisco Art Institute, attendance at, x, 17, 21, 30, 41, 44, 48, 67, 87, 96, 107, 113, 126, 132, 140, 180, 208; on scene composition...
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