CC image Looking through the lens by Marco Verch at Flickr

Notes

The following material is from Wikipedia

1969-1979: Radical Directors in the 70s – Make State of the Nation Movies.

• Fox and His Friends (1975) (a.k.a. Faustrecht der Freiheit) dir. Rainer Werner Fassbinder
• All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
• Ali: Fear Eats the Soul (1974) (a.k.a. Angst essen Seele auf) dir. Rainer Werner Fassbinder
  • made fun of because husband was black
• The Bitter Tears of Petra von Kant (1972) (a.k.a. Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
• All About Eve (1950) dir. Joseph L. Mankiewicz
  • two women controlling each other and fueled with alcohol
• Alice in the Cities (1974) (a.k.a. Alice in den Städten) dir. Wim Wenders
  • iconic American locations
• An Affair to Remember (1957) dir. Leo McCarey
• Gods of the Plague (1970) (a.k.a. Götter der Pest) dir. Rainer Werner Fassbinder
• The Second Awakening of Christa Klages (1978) (a.k.a. Das zweite Erwachen der Christa Klages) dir. Margarethe von Trotta
  • silent but with mellow music playing behind the action
• Burden of Dreams (1982) dir. Les Blank
• Arabian Nights (1974) (a.k.a. Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
• The Spider’s Stratagem (1970) (a.k.a. Strategia del ragno) dir. Bernardo Bertolucci
  • camera tracking right to reveal characters and setting
  • lots of camera movement to the right
• The Conformist (1970) (a.k.a. Il conformista) dir. Bernardo Bertolucci
  • about identity
  • lots of composition filled with nature and architecture
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
• Women in Love (1969) dir. Ken Russell
  • slow motion with camera on side
• Performance (1970) dir. Donald Cammell & Nicolas Roeg
  • camera merges to make a pov shot
  • most imaginative filming in the story of film
• Mean Streets (1973) (introduced in Episode 9) dir. Martin Scorsese
  • getting fixed up
• Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
• Walkabout (1971) dir. Nicolas Roeg
  • wide angle lenses to stretch out space in front of them
• Picnic at Hanging Rock (1975) dir. Peter Weir
  • long white Victorian dresses in the outback
  • fish out of water
• My Brilliant Career (1979) dir. Gillian Armstrong
• Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
  • one of the greatest documentaries
• The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
  • investigation
  • conflict on missing friends
• Black Girl (1966) (a.k.a. La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
  • bold start of black film making
• Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
• La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
• Xala (1975) dir. Ousmane Sembène
• Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
• Badou Boy (1970) dir. Djibril Diop Mambéty
  • abstract rhythm through character’s movements
• Hyènes (1992) (a.k.a. Hyenas/Ramatou) dir. Djibril Diop Mambéty
  • celebration of capitalism
• Kaddu Beykat (1975) (a.k.a. Lettre paysanne) dir. Safi Faye
  • everyday scenes
  • narration of a show and tell
• Harvest: 3,000 Years (1976) (a.k.a. Mirt sost shi amit) dir. Haile Gerima
• Umut (1970) (a.k.a. Hope) dir. Yilmaz Güney & Serif Gören
  • ripped clothing to show how pure he is
• Yol (1982) dir. Yilmaz Güney & Serif Gören
• The Battle of Chile (1975/1977/1979) (a.k.a. La batalla de Chile) dir. Patricio Guzmán
  • handheld cameras
• The Holy Mountain (1973) (a.k.a. La montaña sagrada) dir. Alejandro Jodorowsky
  • wizard of ox like events
  • in his head

CC image feb10 033 grease by apium at Flickr

Notes

The following material is from Wikipedia.

1967-1979: New American Cinema.

• Duck Soup (1933) dir. Leo McCarey
• Artists and Models (1955) dir. Frank Tashlin
  • colors to show that society is fake
• Catch-22 (1970) dir. Mike Nichols
  • one of the great movie satires
  • upside down world
• Mash (1970) dir. Robert Altman
  • mocking and a upside down world
• The Graduate (1967) dir. Mike Nichols
  • massive hit around the world
  • expressionless
• The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
• One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
  • naturalist light
• The Last Movie (1971) dir. Dennis Hopper
• McCabe & Mrs. Miller (1971) dir. Robert Altman
  • camera rolls
• The Conversation (1974) dir. Francis Ford Coppola
  • long lens to show the audience what the characters can’t see
• Mean Streets (1973) dir. Martin Scorsese
  • filmed with tracking camera and established location
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • panned across from the character to say that the character was shamed
• Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
• Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
  • slow mo shots and fast shots when fighting
• Italianamerican (1974) dir. Martin Scorsese
• American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
  • 80s red lighting
• Light Sleeper (1992) dir. Paul Schrader
  • woman’s touch provides peace
• Pickpocket (1959) (introduced in Episode 7) dir. Robert Bresson
  • her touch represents meaning in the world
• The Walker (2007) dir. Paul Schrader
• The Birth of a Nation (1915) (introduced in Episode 1) dir. D. W. Griffith
• Killer of Sheep (1978) dir. Charles Burnett
  • no Hollywood look
  • poetic
• The Shop Around the Corner (1940) dir. Ernst Lubitsch
• Annie Hall (1977) dir. Woody Allen
  • single shot
• City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
• Manhattan (1979) dir. Woody Allen
  • wide shots of landscape
  • jewish character still in center
• The Last Picture Show (1971) dir. Peter Bogdanovich
  • mixed old and new
  • old movie style
• The Wild Bunch (1969) dir. Sam Peckinpah
• Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
  • garrett shoots his reflection because he was too afraid to face himself
• Badlands (1973) dir. Terrence Malick
  • they play war games
• Days of Heaven (1978) dir. Terrence Malick
  • made a reverse shot so that they could fake a locus swarm
• Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
  • wind makes nature come alive
• Cabaret (1972) dir. Bob Fosse
  • could be musical but musicals aren’t shot in close ups
• The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
  • overhead lighting to make shadows in eyes
• Chinatown (1974) dir. Roman Polanski
• The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
• Jules et Jim (1962) dir. François Truffaut
  • lightness
  • closeups with steady tracking

CC image 3D by M4D GROUP at Flickr

Notes

The following material is from Wikipedia

1965-1969: New Waves – Sweep Around the World.

• Ashes and Diamonds (1958) dir. Andrzej Wajda
• Two Men and a Wardrobe (1958) (introduced in Episode 4) dir. Roman Polanski
• Hamlet (1948) dir. Laurence Olivier
• Knife in the Water (1962) dir. Roman Polanski
  • one of the most claustrophobic films
• The Fearless Vampire Killers (1967) dir. Roman Polanski
• The Hand (1965) dir. Jiří Trnka
  • one of the most haunted symbolic films
  • about power
• The Fireman’s Ball (1967) dir. Miloš Forman
  • inmature
• Daisies (1966) dir. Věra Chytilová
  • the actors squeak as if they are puppets
• The Red and the White (1968) dir. Miklós Jancsó
  • doesn’t get close to characters faces
• Une journée d’Andrei Arsenevitch (2000) dir. Chris Marker
  • tracking camera was used very often
• Andrei Rublev (1966) dir. Andrei Tarkovsky
  • wide angle lens to plunge over scene
• The Mirror (1975) dir. Andrei Tarkovsky
• Stalker (1979) dir. Andrei Tarkovsky
  • colors muted and camera slowly pans back
• Nostalghia (1983) dir. Andrei Tarkovsky
  • depth
  • seeing what surrounds the characters
• Shadows of our Forgotten Ancestors (1965) dir. Sergei Parajanov
  • lots of foreground action plus camera movement
  • strong use of camera angles and pov
• Andrei Tarkovsky & Sergei Parajanov – Islands (1988) dir. Levon Grigoryan
• Boy (1969) dir. Nagisa Oshima
  • full wide screen
  • subjects placed on both sides of screen
• In the Realm of the Senses (1976) dir. Nagisa Oshima
• Love and Crime (1969) dir. Teruo Ishii
• The Insect Woman (1963) dir. Shōhei Imamura
  • metaphor over life’s rough terrain
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • characters in background
• Nippon Sengoshi – Madamu Onboro No Seikatsu (1970) dir. Shōhei Imamura
  • documentary
• Ajantrik (1958) dir. Ritwik Ghatak
  • heightened emotions
• The Cloud-Capped Star (1960) dir. Ritwik Ghatak
• Jukti Takko Aar Gappo (1975) dir. Ritwik Ghatak
• Uski Roti (1970) dir. Mani Kaul
  • uses a pattern between cuts to extend the length of the fall
• Black God, White Devil (1964) dir. Glauber Rocha
  • violence is normal
• I Am Cuba (1964) dir. Mikhail Kalatozov
  • camera floats up with wide angle to show the thousands of people walking
• The House Is Black (1963) (introduced in Episode 2) dir. Forugh Farrokhzad
  • the people are thankful for their lives
• Black Girl (1966) dir. Ousmane Sembène
  • treated as a slave
  • committed suicide due to slavery
• Saturday Night and Sunday Morning (1960) dir. Karel Reisz
  • no exterior lights
• Kes (1969) dir. Ken Loach
  • deep lenses to give the public feel
• A Hard Day’s Night (1964) dir. Richard Lester
  • about the beatles
  • helicopter shot
• Primary (1960) dir. Robert Drew
  • stage scenes and documentary film
• Shadows (1959) dir. John Cassavetes
  • similar to how Drew followed Kennedy
  • became known as new American cinema
• Psycho (1960) dir. Alfred Hitchcock
  • was an experiment
  • 70 different camera angles
• 66 Scenes from America (1982) dir. Jørgen Leth
  • no expression and static shot
  • fascinated by organization
• Blow Job (1963) dir. Andy Warhol
• Who’s Afraid of Virginia Woolf? (1966) dir. Mike Nichols
  • harsh lighting
• Medium Cool (1969) dir. Haskell Wexler
  • cameraman killed so it looks as if the camera is thrown around
• Easy Rider (1969) dir. Dennis Hopper
  • defined era
  • carefreeness of hippy days
• Making “The Shining” (1980) dir. Vivian Kubrick
• 2001: A Space Odyssey (1968) (introduced in Episode 1) dir. Stanley Kubrick
  • cuts between time from prehistoric to space
• Der Sieger (1921) dir. Walter Ruttmann
  • hallucination effects

CC image Europe by RileyMcArdle at Flickr

Notes

The following material is from Wikipedia

1957-1964: The Shock of the New – Modern Filmmaking in Western Europe.

• Workers Leaving the Lumière Factory (1895) (introduced in Episode 1) dir. Louis Lumière
• Summer with Monika (1953) dir. Ingmar Bergman
  • Harriot looks directly into the camera
• The Seventh Seal (1957) dir. Ingmar Bergman
• Winter Light (1963) dir. Ingmar Bergman
• Persona (1966) dir. Ingmar Bergman
  • self aware
• Pickpocket (1959) dir. Robert Bresson
  • no staging
• Au hasard Balthazar (1966) dir. Robert Bresson
  • blank emotion
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
• Ratcatcher (1999) dir. Lynne Ramsay
• Monsieur Hulot’s Holiday (1953) (introduced in Episode 2) dir. Jacques Tati
• Mon Oncle (1956) dir. Jacques Tati
• Fellini’s Casanova (1976) dir. Federico Fellini
• Nights of Cabiria (1957) dir. Federico Fellini
  • dissapointment
• 8½ (1963) dir. Federico Fellini
  • contrast in white in black for added emotion in scene
• Stardust Memories (1980) dir. Woody Allen
  • separation between ones life and reality
• Cléo from 5 to 7 (1962) dir. Agnès Varda
  • spirit of new wave
  • pov shots of real people
  • thought on film
• Last Year at Marienbad (1961) dir. Alain Resnais
• The 400 Blows (1959) dir. François Truffaut
• À bout de souffle (1959) dir. Jean-Luc Godard
  • most fascinating character in French new wave
• Life of an American Fireman (1903) (introduced in Episode 1) dir. Edwin S. Porter
  • cuts always used to show something else
• Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
  • cuts for showing man’s mental agitation
• Une femme mariée (1964) dir. Jean-Luc Godard
• American Gigolo (1980) dir. Paul Schrader
  • many camera angles
  • breaks body into parts
• Accattone (1961) dir. Pier Paolo Pasolini
  • religious music used to make the scene relate to religion
• The Gospel According to St. Matthew (1964) dir. Pier Paolo Pasolini
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
• A Fistful of Dollars (1964) dir. Sergio Leone
  • took western because it was dying off in America
• Once Upon a Time in the West (1968) (introduced in Episode 1) dir. Sergio Leone
  • wide opening scene
  • widde crane shots to show the setting and show the upcoming events
• Johnny Guitar (1954) (introduced in Episode 6) dir. Nicholas Ray
  • waiting for the future like in Once Upon a Time in the West
• Senso (1954) dir. Luchino Visconti
  • you would think its a celebration with all of the colors
  • actually a protest
• Rocco and His Brothers (1960) dir. Luchino Visconti
  • sympathy for the poor
• L’eclisse (1962) dir. Michelangelo Antonioni
  • framed modernly and unconventionally
  • canvases of modern life
• The Passenger (1975) dir. Michelangelo Antonioni
  • lots of camera movement to provide tension
• The Travelling Players (1975) dir. Theodoros Angelopoulos
  • shots with depth and tracking
• The Wheelchair (1960) dir. Marco Ferreri
  • mocked elderly and even marches
• What Have I Done to Deserve This? (1984) dir. Pedro Almodóvar
• Viridiana (1961) dir. Luis Buñuel
• I Am Curious (Yellow) (1967) dir. Vilgot Sjöman
• La Maman et la Putain (1973) dir. Jean Eustache
  • shows sadness during to the camera

CC image Romantic in fresh fallen snow by Sven Christoph at Flickr

Notes

The following material is from Wikipedia

1953-1957: The Swollen Story: World Cinema Bursting at the Seams

• Rebel Without a Cause (1955) dir. Nicholas Ray
• Cairo Station (1958) dir. Youssef Chahine
  • first great African and arab film
• Paper Flowers (1959) dir. Guru Dutt
  • used unique light sources
• Raja Harishchandra (1913) dir. Dadasaheb Phalke
  • mythological
• Sant Tukaram (1936) dir. Vishnupant Govind Damle and Sheikh Fattelal
• Pather Panchali (1955) dir. Satyajit Ray
  • realistic characters and villages
  • normal and nothing was fake
• Devi (1960) dir. Satyajit Ray
  • actress was only 14 when casted
  • focused on eyes
• Mother India (1957) dir. Mehboob Khan
  • closeups on hands and feet
  • considered indian gone with the wind
• Two Stage Sisters (1964) dir. Xie Jin
  • close looks at emotions and highlights
• Ikiru (1952) dir. Akira Kurosawa
• Stray Dog (1949) dir. Akira Kurosawa
  • actor continuously tries to get gun back
• Seven Samurai (1954) (introduced in Episode 4) dir. Akira Kurosawa
  • nonstop fighting or determination
  • beginning of new era
• Throne of Blood (1957) dir. Akira Kurosawa
  • Shakespeare adaptation
• The Godfather (1972) dir. Francis Ford Coppola
• The Magnificent Seven (1960) dir. John Sturges
• Limite (1931) (introduced in Episode 4) dir. Mário Peixoto
  • soaring camera showing woman’s liberty
• Rio 40 Graus (a.k.a. Rio 100 Degrees F.) (1955) dir. Nelson Pereira dos Santos
  • deep staging and tracking was well used
• The Life of General Villa (1914) dir. Christy Cabanne
• Doña Bárbara (1943) dir. Fernando de Fuentes and Miguel M. Delgado
  • invented Mexican national cinema
  • filmed with pov
• The Wild Bunch (1969) dir. Sam Peckinpah
• La perla (1947) dir. Emilio Fernández
  • great muscular storytelling
• Los Olvidados (1950) dir. Luis Buñuel
• All That Heaven Allows (1955) dir. Douglas Sirk
• I’m a Stranger Here Myself (1975) dir. David Helpern
• Johnny Guitar (1954) dir. Nicholas Ray
  • colors to support who characters are
• Fireworks (1947) dir. Kenneth Anger
• Scorpio Rising (1964) dir. Kenneth Anger
  • lighting and framing developed the emotion of film
• Marty (television show) (1953) dir. Delbert Mann
• Marty (1955) dir. Delbert Mann
• On the Waterfront (1954) dir. Elia Kazan
• Red River (1948) dir. Howard Hawks and Arthur Rosson
• Touch of Evil (1958) dir. Orson Welles
  • wide angle lenses
  • curved images because of lenses
• The Searchers (1956) dir. John Ford
  • another lonely man obsessed with a woman
• Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
• Rio Bravo (1959) (introduced in Episode 5) dir. Howard Hawks
• Great Expectations (1946) dir. David Lean
• Lawrence of Arabia (1962) dir. David Lean
  • landscape shots
• O Dreamland (1953) dir. Lindsay Anderson
• Battleship Potemkin (1925) (introduced in Episode 3) dir. Sergei Eisenstein
  • working class portrayed as noble types
• …And God Created Woman (1956) dir. Roger Vadim

CC image Surrender by Quinn Dombrowski at Flickr

Notes

The following material is from Wikipedia

1939-1952: The Devastation of War…And a New Movie Language

• Rome, Open City (1945) dir. Roberto Rossellini
  • deals with trauma of war
• Stagecoach (1939) dir. John Ford
  • staging in depth with deep focus
• Directed by John Ford (1971) dir. Peter Bogdanovich
• Osaka Elegy (1936) (introduced in Episode 3) dir. Kenji Mizoguchi
  • staging in depth
• Flesh and the Devil (1926) dir. Clarence Brown
  • shallow focus
• Follow the Boys (1944) dir. A. Edward Sutherland
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • really deep staging
• Me and Orson Welles (2008) dir. Richard Linklater
• Chimes at Midnight (1965) dir. Orson Welles
• Cabiria (1914) (introduced in Episode 1) dir. Giovanni Pastrone
• Intolerance (1916) (introduced in Episode 1) dir. D. W. Griffith
  • large scale
• The General (1926) (introduced in Episode 2) dir. Clyde Bruckman and Buster Keaton
• The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
  • depth is very well shown
• The Best Years of Our Lives (1946) dir. William Wyler
  • lots of depth in a diner yet focused on one subject
• Code Unknown (2000) dir. Michael Haneke
  • deep space used to avoid harassment
• Sátántangó (1994) dir. Béla Tarr
  • move eyes between fore and background
• How to Marry a Millionaire (1953) dir. Jean Negulesco
  • space is all shallow
• Un Homme et une Femme (1966) dir. Claude Lelouch
  • very shallow focus with
• Heat (1995) dir. Michael Mann
  • uses different long lenses to provide really strong depth
• Raging Bull (1980) dir. Martin Scorsese
• Bicycle Thieves (1948) dir. Vittorio De Sica
  • far and gloomy seen to show thief in shame
  • tracking shot to show pov
• Pin Up Girl (1944) dir. H. Bruce Humberstone
• Double Indemnity (1944) dir. Billy Wilder
  • focus on subject and hallway
• Portrait of a 66% Perfect Man: Billy Wilder (1982) dir. Annie Tresgot
  • thematically dark films
• The Testament of Dr. Mabuse (1933) dir. Fritz Lang
• The Big Sleep (1946) dir. Howard Hawks
  • complex plot
• Rio Bravo (1959) dir. Howard Hawks
• The Empire Strikes Back (1980) (introduced in Episode 1) dir. Irvin Kershner
• Out of the Past (1947) dir. Jacques Tourneur
  • uses man’s gaze to her advantage
• The Hitch-Hiker (1953) dir. Ida Lupino
• Little Caesar (1931) dir. Mervyn LeRoy
• Le Quai des brumes (1938) (introduced in Episode 4) dir. Marcel Carné
• La Chienne (1931) dir. Jean Renoir
• Scarlet Street (1945) dir. Fritz Lang
  • man pleads for woman’s love
• American Cinema: Film Noir (1995) dir. Alain Klarer
• Gun Crazy (1950) dir. Joseph H. Lewis
  • you see their backsides as the subjects are talking rather than the front of them
• Bonnie and Clyde (1967) dir. Arthur Penn
  • similar to gun crazy
• L.A. Confidential (1997) dir. Curtis Hanson
• Blade Runner (1982) dir. Ridley Scott
• The Dark Knight (2008) dir. Christopher Nolan
  • similar with gun crazy robbery
• Siva (1989) dir. Ram Gopal Varma
• Titanic (1997) dir. James Cameron
  • romantic cinema continued
• 71st Academy Awards (1999) dir. Louis J. Horvitz
• An American in Paris (1951) dir. Vincente Minnelli
  • strong movement and color to show joy
• The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
  • red lights painted the studio backdrops
• Singin’ in the Rain (1952) (introduced in Episode 2) dir. Gene Kelly and Stanley Donen
  • so joyful that rain is a pleasure
• Flying Down to Rio (1933) dir. Thornton Freeland
• Gold Diggers of 1933 (1933) (introduced in Episode 2) dir. Mervyn LeRoy
  • very abstract framing of choreography
• Indiscreet (1958) dir. Stanley Donen
• Two for the Road (1967) dir. Stanley Donen
  • married couple with troubles and roadtrips show their first and last drive together
• A Matter of Life and Death (1946) dir. Michael Powell and Emeric Pressburger
  • heaven is shown in black in white and that the subject has love to hold on to
• Post Haste (1933) dir. Humphrey Jennings
  • focused on duty and still returns letter as blown up
• Listen to Britain (1942) dir. Humphrey Jennings and Stewart McAllister
  • force field between shots
• The Third Man (1949) dir. Carol Reed
  • many shots off of the horizontal axis
• The True Glory (1945) dir. Carol Reed and Garson Kanin
  • engaged with reality
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • walks along road in real time

CC image sound mixer by Bernal Saborio at Flickr

Notes

The following material is from Wikipedia

The 1930s: The Great American Movie Genres…

• Her Dilemma (a.k.a. Confessions of a Co-Ed) (1931) dir. Dudley Murphy
  • sound was before picture
• Love Me Tonight (1932) dir. Rouben Mamoulian
  • emerging waking up of paris to show a bunch of sounds
• The Golem: How He Came into the World (1920) dir. Carl Boese and Paul Wegener
  • german was the best horror movies
• Frankenstein (1931) dir. James Whale
  • based off of the golem
• Eyes Without a Face (1960) dir. Georges Franju
  • mask to make audience wish to see whats behind the mask
• Audition (1999) dir. Takashi Miike
  • would get close to your nervous system
• The Public Enemy (1931) dir. William A. Wellman
  • shocking and unexpected events
• Scarface (1932) dir. Howard Hawks and Richard Rosson
• Scarface (1983) dir. Brian De Palma
  • crane shots
  • very 80s representation
• Seven Samurai (1954) dir. Akira Kurosawa
  • one of the most influential films of all time
• Once Upon a Time in America (1984) dir. Sergio Leone
• The Iron Horse (1924) dir. John Ford
  • landscape film
  • fast camera
• My Darling Clementine (1946) dir. John Ford
  • best westerns are about lawbreakers
• Twentieth Century (1934) dir. Howard Hawks
  • comedy became feminized when sound was introduced
• Bringing Up Baby (1938) dir. Howard Hawks
  • two characters standout since setting is all white
• The Men Who Made the Movies: Howard Hawks (1973) dir. Richard Schickel
  • bitter view of life
• Gold Diggers of 1933 (1933) (introduced in Episode 1) dir. Mervyn LeRoy
  • choreographed entirely
• Gertie the Dinosaur (1914) dir. Winsor McCay
• The Adventures of Prince Achmed (1926) dir. Lotte Reiniger
  • uses Victorian cutting techniques
• Plane Crazy (1928) dir. Walt Disney and Ub Iwerks
  • simple
• Snow White and the Seven Dwarfs (1937) dir. David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben Sharpsteen
  • filmed an actress then match the animation to her movements
• One Hundred and One Dalmatians (1961) dir. Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman

…And the Brilliance of European Film

• The Blood of a Poet (1931) dir. Jean Cocteau
  • some scenes couldn’t be done without sound
• Inception (2010) dir. Christopher Nolan
  • hallway built in a barrel and was spun
• Zéro de conduite (1933) dir. Jean Vigo
  • in slow motion and had sound to play out the action
• If…. (1968) dir. Lindsay Anderson
  • in an elite school rather than an elementary
• L’Atalante (1934) dir. Jean Vigo
• Le Quai des brumes (1938) dir. Marcel Carné
  • the setting and effects provides a gloomy mood
• Les Enfants du Paradis (1945) dir. Marcel Carné
  • music is introduced and a scene becomes theater
• La Règle du jeu (1939) (a.k.a. The Rules of the Game) dir. Jean Renoir
  • humanism
• La Grande Illusion (1937) dir. Jean Renoir
  • befriending of a French and german that were prisoners of war
• Limite (1931) dir. Mário Peixoto
  • South America’s first film
  • most remarkable out of the small amount of Brazilian films
• The Adventures of a Good Citizen (1937) dir. Stefan Themerson
  • surreal adventure
  • lots of light and exposure
• Two Men and a Wardrobe (1958) dir. Roman Polanski
  • Poland had a hard time in the 1930s
  • german films tended to be about music and homeland
• Das Blaue Licht (1932) dir. Leni Riefenstahl
  • soft light and mist over mountains
• Triumph of the Will (1935) dir. Leni Riefenstahl
  • a Nazi party gathering
• Behind the Scenes of the Filming of the Olympic Games (1937) dir. Leni Riefenstahl
  • many different cameras to get details from the crowds
• Olympia Part Two: Festival of Beauty (1938) dir. Leni Riefenstahl
• Tiefland (1954) dir. Leni Riefenstahl
  • used people from concentration camps as extras
  • glossy film and movement
• The Wonderful, Horrible Life of Leni Riefenstahl (1993) dir. Ray Müller
• Vertigo (1958) dir. Alfred Hitchcock
  • camera becomes the pov of the subject
• Saboteur (1942) dir. Alfred Hitchcock
• Sabotage (1936) dir. Alfred Hitchcock
  • knowing what will happen provides suspense and fear
• The 39 Steps (1935) dir. Alfred Hitchcock
  • obsessed with hands
  • close ups are dramatic
• Marnie (1964) dir. Alfred Hitchcock
  • uses a high angle then a low
  • angles add effect
• Ninotchka (1939) dir. Ernst Lubitsch
• The Wizard of Oz (1939) dir. Victor Fleming
  • a fantasy world
  • camera scans the land to show that it is a fantasy
• Gone with the Wind (1939) (introduced in Episode 2) dir. Victor Fleming
  • starts off in fantasy land and walks into the real world
  • one of the most escapist film ever made

CC image Golden Sunset by lady_lbrty at Flickr

Notes

The following material is from Wikipedia

1918-1932: The Great Rebel Filmmakers Around the World

• The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
  • soft lighting and shallow focus
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
  • realistic
  • no makeup
• Robert and Bertram (1915) dir. Max Mack
  • came up with own style
• The Oyster Princess (1919) dir. Ernst Lubitsch
  • mocking
  • cultural black
• The Mountain Cat (1921) dir. Ernst Lubitsch
  • none were as visibly daring as lubitsch
• The Marriage Circle (1924) dir. Ernst Lubitsch
  • he had to be inventive in how he presented sexuality
• La Roue (1923) dir. Abel Gance
  • great work of impressionism
  • movie screen becomes his eye
• Napoléon (1927) dir. Abel Gance
  • movement and pov is well shown
• The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
  • most impressionist
• The Tell-Tale Heart (1928) dir. Charles Klein
• The Lodger (1927) dir. Alfred Hitchcock
  • with shoadowing and hysteria of caligari
• A Page of Madness (1926) dir. Teinosuke Kinugasa
  • page of madness
  • lots of visual overlays and fast cutting
• Metropolis (1927) dir. Fritz Lang
  • giant city like fantasy new york
• The Crowd (1928) (introduced in Episode 2) dir. King Vidor
• Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
  • traffic and cluttering as they walk without noticing
  • switches to nature
• Opus 1 (1921) dir. Walter Ruttmann
• Entr’acte (1924) dir. René Clair
• Rien que les heures (1926) dir. Alberto Cavalcanti
• Spellbound (1945) dir. Alfred Hitchcock
  • strange setting
• Un Chien Andalou (1929) dir. Luis Buñuel
  • different events shows creepy actions
  • ants coming out of hand
• Blue Velvet (1986) dir. David Lynch
  • ant covered ear
• L’Age d’Or (1930) dir. Luis Buñuel
  • cutting between different sights
• Kino-Pravda n. 19 (1924) dir. Dziga Vertov
  • camera attached to train
• Glumov’s Diary (1923) dir. Sergei Eisenstein
• Battleship Potemkin (1925) dir. Sergei Eisenstein
  • fast moving cuts
• The Untouchables (1987) dir. Brian De Palma
  • slow moving
  • splintered editing
  • very intense
• Arsenal (1929) dir. Alexander Dovzhenko
• Earth (1930) dir. Alexander Dovzhenko
  • mysterious actions that leave the audience on edge and curious
• I Was Born, But… (1932) dir. Yasujirō Ozu
  • comedy with a sort of a dark view
• Tokyo Story (1953) dir. Yasujirō Ozu
  • uses a 90 degree angle when filming communication
• Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
• The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
  • open space to make a void and give a break on the film
• Osaka Elegy (1936) dir. Kenji Mizoguchi
  • extreme foreground yet action going on in background
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
• Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
  • to change the emotion presented, mizoguchi moved the camera away rather than up close
• Mildred Pierce (1945) dir. Michael Curtiz
  • the attempt of suicide is shown so well using lighting, shallow focus, and even emphasizing her eyes
• Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
• Scenes of City Life (1935) dir. Yuan Muzhi
  • a realist cinema to challenge hollywood
• The Goddess (1934) dir. Wu Yonggang
  • body language and gestures stood out to show subjects feelings
• Center Stage (1991) dir. Stanley Kwan
• New Women (1935) dir. Cai Chusheng

CC image Hollywood by lj16 at Flickr

Notes

The following material is from Wikipedia

1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
  • Hollywood would work wonders with light
• The Thief of Bagdad (1924) dir. Raoul Walsh
  • Hollywood made realistic sets
• Desire (1936) dir. Frank Borzage
• Gone with the Wind (1939) dir. Victor Fleming
• dollys were used to make images glide away
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
  • abstract dancing to provide visual emotion
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
• The Maltese Falcon (1941) dir. John Huston
  • stars were angels with dirty faces
  • stronger lighting and night time settings
• The Scarlet Empress (1934) dir. Josef von Sternberg
  • more romantic
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
  • shows fascination in cameras
• One Week (1920) dir. Edward F. Cline and Buster Keaton
  • Keaton created many comedies
• Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
  • defined silent cinema
  • cutting
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
  • daredeviling and cutting to make a building look really tall
• Buster Keaton Rides Again (1965) dir. John Spotton
  • highly planned to make jokes
• The General (1926) dir. Clyde Bruckman and Buster Keaton
  • set during American civil war
  • jokes are reversed to provide more laughs
• Divine Intervention (2002) dir. Elia Suleiman
  • filmed in dead pan
  • grumpiness found funny
• Limelight (1952) dir. Charlie Chaplin
  • far more into body movement
• City Lights (1931) dir. Charlie Chaplin
  • rehearsed comedy
• The Kid (1921) dir. Charlie Chaplin
  • shot in America but English style
• Bad Timing (1980) dir. Nicolas Roeg
  • hands shown to develop emotion
• The Great Dictator (1940) dir. Charlie Chaplin
  • props to show strong storyline
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
• Toto in Color (1953) dir. Steno
  • uses chaplins comedy
• Awaara (1951) dir. Raj Kapoor
  • modeled as chaplins comedy or actions
• Sunset Boulevard (1950) dir. Billy Wilder
• Some Like It Hot (1959) dir. Billy Wilder
• Luke’s Movie Muddle (1916) dir. Hal Roach
  • too much like chaplin
  • similar
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
  • objects get in the way
  • a beautiful idea
• I Flunked, But… (1930) dir. Yasujirō Ozu
  • had Harold loyds silliness

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
  • scenic shots are great
  • close up to show psychology
• The House Is Black (1963) dir. Forough Farrokhzad
  • strong tracking shots
• Sans Soleil (1983) dir. Chris Marker
  • filmed real places
  • narrations of events
• The Not Dead (2007) dir. Brian Hill
  • interview with war soldier and used it to make a poem
• The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
  • remade five times
• The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
• Blind Husbands (1919) dir. Erich von Stroheim
  • strong backlight
• The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
  • showed actresses how to comb hair
• Greed (1924) dir. Erich von Stroheim
  • hand tinted yellow of coins
• Stroheim in Vienna (1948)
  • actors pushed to their limits
  • ran seven hours
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
• The Crowd (1928) dir. King Vidor
  • greatest pre wallstreet crash
  • realistic
• The Apartment (1960) dir. Billy Wilder
  • strong framing
• The Trial (1962) dir. Orson Welles
  • exaggerates with an upper level to show dominance
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
  • based on mars and framed with angles and diagonals
• Posle Smerti (1915) dir. Yevgeni Bauer
  • handsome side lighting
  • slit in screen with a door
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
  • lots of emotion
• Ordet (1955) dir. Carl Theodor Dreyer
  • reeality can’t be simplified
  • must be understood first
• The President (1919) dir. Carl Theodor Dreyer
  • sets were usually cluttered
• Vampyr (1932) dir. Carl Theodor Dreyer
  • filmed as if shadows had a life of their own
• Gertrud (1964) dir. Carl Theodor Dreyer
  • filmed as if in heaven
• Dogville (2003) dir. Lars von Trier
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard

CC image Cinema by Steve Snodgrass at Flickr

Notes

The following material is from Wikipedia

Introduction

• Saving Private Ryan (1998) dir. Steven Spielberg
• Three Colors: Blue (1993) dir. Krzysztof Kieślowski
• Casablanca (1942) dir. Michael Curtiz
  • a Hollywood classic
  • filmed on studio set
• The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
  • a pause in story
  • framed well
• Odd Man Out (1947) dir. Carol Reed
  • sees troubles in bubbles
• Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
• Taxi Driver (1976) dir. Martin Scorsese
• The French Connection (1971) dir. William Friedkin
  • used car to show pov

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

• Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
  • movement
• The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
  • an example of the creation of the illusion of movement
• Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
  • first film shot of Lumiere factory
• Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
  • first film that the Lumiere shot and showed to an audience
  • people felt that the train was coming at them
• Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
• Sandow (1894) dir. William Kennedy Dickson
• What Happened on Twenty-third Street, New York City (1901) dir. George S. Fleming and Edwin S. Porter
  • an image bank to provide different emotions
• Cendrillon (1899) dir. Georges Méliès
  • founded cutting and created “cinemas first magic trick”
• Le voyage dans la lune (1902) dir. Georges Méliès
• La lune à un mètre (1898) dir. Georges Méliès
  • first special effects director
• The Kiss in the Tunnel (1899) dir. George Albert Smith
  • one of the first to film in front of a train
  • created the phantom shot
• Shoah (1985) dir. Claude Lanzmann
  • filmed shots of train lines that took place in the holocaust
• 2001: A Space Odyssey (1968) dir. Stanley Kubrick
  • used phantom scene to zoom through colors to provide a tripping effect
• The Sick Kitten (1903) dir. George Albert Smith
  • used first close ups
  • close ups were born
• October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
  • strong movement with bridge
• Once Upon a Time in the West (1968) dir. Sergio Leone
  • close up of face to show realization or thoughts in characters
• The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
  • wider film

1903-1918: The Thrill Becomes Story or The Hollywood Dream

• Life of an American Fireman (1903) dir. Edwin S. Porter
  • cuts between action to provide clear understanding of events
• Sherlock Jr. (1924) dir. Buster Keaton
  • used double exposure to show a dream
• The Horse that Bolted (1907) dir. Charles Pathé
  • cuts between horse and man to show two events that are happening at once
• The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
  • created the reverse angle shot
• Vivre sa vie (1962) dir. Jean-Luc Godard
• Those Awful Hats (1909) dir. D. W. Griffith
• The Mended Lute (1909) dir. D. W. Griffith
  • first movie star
• The Abyss (1910) dir. Urban Gad
  • more and more movie stars were developed
• Stage Struck (1925) dir. Allan Dwan
  • trialed on luxury and costuming
  • star system
• The Mysterious X (1914) dir. Benjamin Christensen
  • cross cutting by drawing on film
• Häxan (1922) dir. Benjamin Christensen
  • used lighting to show subjects
• Ingeborg Holm (1913) dir. Victor Sjöström
• The Phantom Carriage (1921) dir. Victor Sjöström
  • many stories and many moods
• Shanghai Express (1932) dir. Josef von Sternberg
  • youth and glamour
• The Story of the Kelly Gang (1906) dir. Charles Tait
  • filmed outdoors in australia
• The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
  • first Hollywood feature
  • eyes match across the cut to show emotion
• The Empire Strikes Back (1980) dir. Irvin Kershner
  • 180 degree rule to show subjects looking at each other
• Falling Leaves (1912) dir. Alice Guy-Blaché
  • poetry included into the film
• Suspense (1913) dir. Phillips Smalley and Lois Weber
  • used split screen to show three different subjects in different locations
• The Wind (1928) dir. Victor Sjöström
  • sand blasts image
  • looked like a dream
• Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
• The House with Closed Shutters (1910) dir. D. W. Griffith
• Way Down East (1920) dir. D. W. Griffith
  • delicacy of light
• Orphans of the Storm (1921) dir. D. W. Griffith
  • visual softness and backlight to make people standout
• The Birth of a Nation (1915) dir. D. W. Griffith
  • great tracking shots
• Rebirth of a Nation (2007) dir. DJ Spooky
• Cabiria (1914) dir. Giovanni Pastrone
  • dolly shots
  • uses props to show the scale
• Intolerance (1916) dir. D. W. Griffith
• Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
  • to stories blend together
  • first great Japanese film