The matrix

Every code and convention against every film in the journal. A cell lists the scene, idea and context notes where that film demonstrates that concept; a filled dot means the film's own hub page names it too. Rows are ordered by how much evidence they carry, so the well-taught concepts sit at the top and the gaps show at the bottom.

Concept	After Hours (1985)	Alice Doesn't Live Here Anymore (1974)	Mean Streets (1973)	Psycho (1960)	Taxi Driver (1976)	The Craft (1996)
Camerawork	● The keys nearly killed Griffin Dunne Five set-ups a day became sixteen Close-ups for no reason After Hours — the keys After Hours — the diner After Hours — back at work		● Mean Streets — Tony's bar Mean Streets — the back room	● the shower scene the parlour scene the opening	● The Wrong Man taught the camera to be paranoid Overhead shots are the priest's-eye view Chapman pushed the night stock Bresson's hands, Travis's guns the shoot-out the phone call the mirror	light as a feather
Character	● The Last Temptation collapse, 1983 After Hours — the diner After Hours — back at work	Alice — the prologue	● Church and street in Little Italy Nobody agrees whether Johnny Boy dies The hand in the flame Corman offered to make it Black Mean Streets — Tony's bar Mean Streets — the opening Mean Streets — the back room	Killing the protagonist at minute 47 the parlour scene	The returning veteran, 1976 the mirror	● The Craft turns on its own coven Nancy is the only poor one Nancy's turn
Editing	● Close-ups for no reason After Hours — the keys	● You'll Never Know, then Mott the Hoople Alice — the prologue	The jukebox is the score Mean Streets — Tony's bar Mean Streets — the opening	● The Production Code and Psycho The shower scene is built from 78 setups the shower scene	● Bresson's hands, Travis's guns the shoot-out	● The chant is a metronome, not a spell light as a feather
Audio		● You'll Never Know, then Mott the Hoople Alice — the prologue	● The jukebox is the score Mean Streets — Tony's bar Mean Streets — the opening	● Herrmann scored the shower against orders the shower scene	Herrmann finished the score and died that night the shoot-out	● The chant is a metronome, not a spell light as a feather
Structure	● Paul was nearly born on the West Side Highway Michael Powell wrote the ending The first half hour came from a radio monologue After Hours — the diner After Hours — back at work	Alice — the prologue	Nobody agrees whether Johnny Boy dies Mean Streets — the back room	Selling Psycho: the no-late-admission policy The money dies with Marion Killing the protagonist at minute 47	Schrader and Scorsese disagree about the ending the phone call	The Craft turns on its own coven
Mise en scène			New York was Los Angeles The hand in the flame	● Norman among the birds The first flushing toilet the parlour scene	The returning veteran, 1976 Overhead shots are the priest's-eye view Bickle sees through glass the phone call	● Nancy is the only poor one Nancy's turn light as a feather
Point of view	● The keys nearly killed Griffin Dunne Close-ups for no reason After Hours — the keys			The money dies with Marion Killing the protagonist at minute 47 the parlour scene the opening	● The Wrong Man taught the camera to be paranoid Bickle sees through glass the shoot-out the phone call the mirror
Iconography	After Hours — the keys	The $85,000 backdrop Alice — the prologue	Church and street in Little Italy The hand in the flame Mean Streets — Tony's bar	Psychoanalysis in postwar America Norman among the birds	The returning veteran, 1976 In every city there's one man Bresson's hands, Travis's guns	● Manon was invented so nobody could call him
Setting	● SoHo before the money, 1984 Tim Burton stepped aside After Hours — the keys	The $85,000 backdrop Alice — the prologue	● Church and street in Little Italy New York was Los Angeles Mean Streets — Tony's bar	the opening	Bickle sees through glass	Nancy is the only poor one
Spoken language	The first half hour came from a radio monologue After Hours — the diner	Alice — the prologue	● Mean Streets — the opening Mean Streets — the back room	Psychoanalysis in postwar America the parlour scene	De Niro wrote in the margins the phone call the mirror	Nancy is the only poor one
Acting	After Hours — the diner	●	● The hand in the flame Mean Streets — the back room	the parlour scene	De Niro wrote in the margins Bresson's hands, Travis's guns the mirror	Rochelle plays the spell wrong on purpose Nancy's turn
Colour		● The $85,000 backdrop Alice — the prologue	● Too much red Mean Streets — Tony's bar		● The red tint over the bloodbath Chapman pushed the night stock the shoot-out	Nancy's turn
Formula	●	The women's picture, 1974 Alice — the prologue	● Independence, 1973 Corman offered to make it Black	The money dies with Marion Killing the protagonist at minute 47	the shoot-out	The Craft turns on its own coven The Craft got better as it got older
Lighting	● SoHo before the money, 1984 Tim Burton stepped aside Five set-ups a day became sixteen	The $85,000 backdrop Alice — the prologue	Too much red Mean Streets — Tony's bar	Norman among the birds the parlour scene	Chapman pushed the night stock
Conflict			Nobody agrees whether Johnny Boy dies Mean Streets — the back room	Killing the protagonist at minute 47	Schrader and Scorsese disagree about the ending the shoot-out the phone call	The Craft turns on its own coven Nancy is the only poor one Nancy's turn light as a feather
Non-diegetic sound		You'll Never Know, then Mott the Hoople	The jukebox is the score Mean Streets — the opening	Herrmann scored the shower against orders the shower scene	● Herrmann finished the score and died that night the shoot-out	The chant is a metronome, not a spell light as a feather
Themes	The Last Temptation collapse, 1983 After Hours — back at work	The women's picture, 1974 Ms. Magazine and the twenty-five per cent	Church and street in Little Italy	Psychoanalysis in postwar America	The returning veteran, 1976 Schrader and Scorsese disagree about the ending	The Craft turns on its own coven
Format		Alice — the prologue	Independence, 1973 The jukebox is the score Mean Streets — the opening	Selling Psycho: the no-late-admission policy Killing the protagonist at minute 47	In every city there's one man	The Craft got better as it got older
Chronology	Paul was nearly born on the West Side Highway After Hours — back at work	You'll Never Know, then Mott the Hoople Alice — the prologue	Nobody agrees whether Johnny Boy dies	Killing the protagonist at minute 47
Continuity		Alice — the prologue	New York was Los Angeles	The shower scene is built from 78 setups the parlour scene	The Wrong Man taught the camera to be paranoid	light as a feather
Montage		You'll Never Know, then Mott the Hoople Alice — the prologue		The shower scene is built from 78 setups the shower scene	Bresson's hands, Travis's guns
The camera as voyeur				the parlour scene the opening	Bickle sees through glass the shoot-out the phone call
The MacGuffin				The money dies with Marion Killing the protagonist at minute 47 the opening	Schrader and Scorsese disagree about the ending	Manon was invented so nobody could call him
Printed language		Alice — the prologue		the opening	In every city there's one man

Coloured by note kind: scene, idea, context. Empty rows are the concepts no film on the site demonstrates yet, which is a reading list for the next viewing.