1939-1952: The Devastation of War…And a New Movie Language
- Rome, Open City (1945) dir. Roberto Rossellini
- Shows the trauma of war in real streets.
- Stagecoach (1939) dir. John Ford
- Darker view of the west over time.
- Story about people.
- Camera emphasizes distance.
- Directed by John Ford (1971) dir. Peter Bogdanovich
- Director does not see this change over time.
- Osaka Elegy (1936) (introduced in Episode 3) dir. Kenji Mizoguchi
- Deep staging, similar to Stagecoach.
- Flesh and the Devil (1926) dir. Clarence Brown
- Follow the Boys (1944) dir. A. Edward Sutherland
- Orson Welles pictured
- Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
- Pushed deep staging to the limit.
- Kane is shown as an empty person, who has lost their ability to feel.
- Me and Orson Welles (2008) dir. Richard Linklater
- Story of staging told incorrectly.
- Chimes at Midnight (1965) dir. Orson Welles
- The power of his films comes from theatrics.
- Cabiria (1914) (introduced in Episode 1) dir. Giovanni Pastrone
- Mirrored tracking shots in Kane.
- Intolerance (1916) (introduced in Episode 1) dir. D. W. Griffith
- Mirrored splendor in Kane.
- The General (1926) (introduced in Episode 2) dir. Clyde Bruckman and Buster Keaton
- Mirrored cost in Kane.
- The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
- Intense depth to the scenes.
- The Best Years of Our Lives (1946) dir. William Wyler
- Deep staging, the camera does not focus on the tense part of the scene.
- The front and center is taken by a veteran playing piano, noise covers conversation.
- Code Unknown (2000) dir. Michael Haneke
- Deep space shows woman escaping harassment.
- Sátántangó (1994) dir. Béla Tarr
- Deep space is used to move our eyes from back to front.
- How to Marry a Millionaire (1953) dir. Jean Negulesco
- Deep space went out of style to favor better colors.
- Un Homme et une Femme (1966) dir. Claude Lelouch
- Shallow depth to show mind of main character.
- Heat (1995) dir. Michael Mann
- Focus so shallow that background lights blur.
- Raging Bull (1980) dir. Martin Scorsese
- Used bare light bulbs similar to rubble films.
- Bicycle Thieves (1948) dir. Vittorio De Sica
- Harsh light shows shame in the event.
- Things happen without plot relevancy.
- Pin Up Girl (1944) dir. H. Bruce Humberstone
- Hollywood went on, business as usual.
- Double Indemnity (1944) dir. Billy Wilder
- Film noire, uses deep depth and staging to present story.
- Money and lust shown as a great flaw.
- Portrait of a 66% Perfect Man: Billy Wilder (1982) dir. Annie Tresgot
- The Testament of Dr. Mabuse (1933) dir. Fritz Lang
- Shadows create interesting geometry with hand railing.
- The Big Sleep (1946) dir. Howard Hawks
- Very snappy dialogue.
- Most trend setting noire film.
- Rio Bravo (1959) dir. Howard Hawks
- Very good writing.
- The Empire Strikes Back (1980) (introduced in Episode 1) dir. Irvin Kershner
- Same writer from Rio Bravo.
- Out of the Past (1947) dir. Jacques Tourneur
- Shows love as manipulative.
- The Hitch-Hiker (1953) dir. Ida Lupino
- Masterful lighting and cinematography.
- Little Caesar (1931) dir. Mervyn LeRoy
- Gangster film actor here put in Double Indemnity.
- Le Quai des brumes (1938) (introduced in Episode 4) dir. Marcel Carné
- La Chienne (1931) dir. Jean Renoir
- Man loves hard hearted woman.
- Scarlet Street (1945) dir. Fritz Lang
- Mirrored scene from La Chienne.
- American Cinema: Film Noir (1995) dir. Alain Klarer
- The great B movie director, Joseph H. Lewis.
- Gun Crazy (1950) dir. Joseph H. Lewis
- Gave improvisational rights to actors.
- Very inventive placement of microphones.
- Bonnie and Clyde (1967) dir. Arthur Penn
- Heavily influenced by Gun Crazy.
- L.A. Confidential (1997) dir. Curtis Hanson
- Influenced by noire films.
- Blade Runner (1982) dir. Ridley Scott
- Influenced shots and lighting from noire.
- The Dark Knight (2008) dir. Christopher Nolan
- Influenced lighting to noire (batman came from that setting.)
- Siva (1989) dir. Ram Gopal Varma
- Shows noire was international.
- Titanic (1997) dir. James Cameron
- Shows the persistence of romantic cinema.
- 71st Academy Awards (1999) dir. Louis J. Horvitz
- Telling reactions from the crowd.
- An American in Paris (1951) dir. Vincente Minnelli
- Produced right as the studio system began dying.
- Shows that joy and beauty had not left the studios.
- The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
- Shows all the flashiness of cinema.
- Singin’ in the Rain (1952) (introduced in Episode 2) dir. Gene Kelly and Stanley Donen
- Performances drawn from vaudeville acts.
- Flying Down to Rio (1933) dir. Thornton Freeland
- Gold Diggers of 1933 (1933) (introduced in Episode 2) dir. Mervyn LeRoy
- Indiscreet (1958) dir. Stanley Donen
- Challenges censorship with inventive camera work.
- Two for the Road (1967) dir. Stanley Donen
- Melancholy enters Donen’s films.
- A Matter of Life and Death (1946) dir. Michael Powell and Emeric Pressburger
- Very intense war movie. High drama.
- Post Haste (1933) dir. Humphrey Jennings
- Jennings started out an actor.
- Listen to Britain (1942) dir. Humphrey Jennings and Stewart McAllister
- Emotional scenes specific to Britain.
- Composition of shots show deep meaning.
- The Third Man (1949) dir. Carol Reed
- Cinematography shows moral ambiguity.
- Very expressionist shots.
- The True Glory (1945) dir. Carol Reed and Garson Kanin
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- Similar shot the The Third Man of walking down a street.