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Direction vs Directorially - What's the difference?

direction | directorially |

As a noun direction

is the action of directing; pointing (something) or looking towards.

As an adverb directorially is

in terms of film direction.

direction

Noun

(en noun)
  • The action of directing; pointing (something) or looking towards.
  • * 1835 , Sir , Sir (James Clark Ross), Narrative of a Second Voyage in Search of a North-west Passage …, Volume 1 , pp.284-5
  • Towards the following morning, the thermometer fell to 5°; and at daylight, there was not an atom of water to be seen in any direction .
  • Guidance, instruction.
  • The work of the director in cinema or theater; the skill of directing a film, play etc.
  • (archaic) An address.
  • * 1796 , , (The Monk) , Folio Society 1985, p. 218:
  • Her aunt Leonella was still at Cordova, and she knew not her direction .
  • The path or course of a given movement, or moving body; an indication of the point toward or from which an object is moving.
  • *
  • , title=(The Celebrity), chapter=4 , passage=Judge Short had gone to town, and Farrar was off for a three days' cruise up the lake. I was bitterly regretting I had not gone with him when the distant notes of a coach horn reached my ear, and I descried a four-in-hand winding its way up the inn road from the direction of Mohair.}}
  • * 1900 , , (The House Behind the Cedars) , Chapter I,
  • Just before Warwick reached Liberty Point, a young woman came down Front Street from the direction of the market-house. When their paths converged, Warwick kept on down Front Street behind her, it having been already his intention to walk in this direction .

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    * 1000 English basic words ----

    directorially

    English

    Adverb

    (en adverb)
  • In terms of film direction.
  • * {{quote-news, year=2008, date=May 27, author=Dave Kehr, title=New DVDs: Action and Adventure, work=New York Times citation
  • , passage=At least five directors were involved in the production, from Korda’s hapless original choice, Ludwig Berger, whom he came to dislike for his intimate approach to material that Korda had envisioned as grand and sweeping; to Michael Powell (brought in mainly to work with Veidt, whom he had directed in “The Spy in Black” and “Contraband,” Veidt’s first two British films); to the American action director Tim Whelan; and, when the production moved to the United States, to the influential Art Moderne production designer William Cameron Menzies and Korda’s more directorially accomplished brother, Zoltan Korda. }}