1967-1979: New American Cinema.

• Duck Soup (1933) dir. Leo McCarey
  • Strange things portrayed, out of order and upside down.
• Artists and Models (1955) dir. Frank Tashlin
  • Made films look like a cartoon, shows society as fake.
• Catch-22 (1970) dir. Mike Nichols
  •  A great satire, shows how illogical the world can be.
• Mash (1970) dir. Robert Altman
  • Actors fill the screen, the overlapping dialogue makes up the score.
  • Uses zooming and lenses so that actors do not know if they are even on screen.
• The Graduate (1967) dir. Mike Nichols
  • Expressionless existence to the main character.
  • Reveal of the art major seems strange and detached.
• The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
  • Deadpan sense of humor.
• One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
  • World of the story is upside down.
• The Last Movie (1971) dir. Dennis Hopper
  • Strange social symbolism over the exploitation to make the films.
• McCabe & Mrs. Miller (1971) dir. Robert Altman
  • Long shots and muted colors, anti-western.
• The Conversation (1974) dir. Francis Ford Coppola
  • New audio equipment is the focus of the film.
  • Shows how being lost in what you see of other’s lives will ruin your own.
• Mean Streets (1973) dir. Martin Scorsese
  • Movie about the streets of Scorsese’s childhood.
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • Taxi looks deathly, made in a disgusting world.
• Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
  • Similar to Taxi Driver.
• Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
  • Shot documentary style, made to resemble the lives of Italian American.
• Italianamerican (1974) dir. Martin Scorsese
  • Surprisingly also made to resemble the lives of Italian Americans.
• American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
• Light Sleeper (1992) dir. Paul Schrader
  • Floating through the world, painted in specific colors.
• Pickpocket (1959) (introduced in Episode 7) dir. Robert Bresson
• The Walker (2007) dir. Paul Schrader
  • Similar to Light Sleeper, American Gigolo and Taxi Driver.
• The Birth of a Nation (1915) (introduced in Episode 1) dir. D. W. Griffith
• Killer of Sheep (1978) dir. Charles Burnett
  • Very detailed on the small things, not extravagant in a Hollywood way.
• The Shop Around the Corner (1940) dir. Ernst Lubitsch
  • The logic and comedy of the man make the script very interesting.
• Annie Hall (1977) dir. Woody Allen
  • Interview-style of Woody Allen was very non-conventional.
  • Similar to Charlie Chaplin in story.
• City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
• Manhattan (1979) dir. Woody Allen
  • Jewish character similarly at the center of the story.
• The Last Picture Show (1971) dir. Peter Bogdanovich
  • Mixed old and new, just as the old and new combine in the movie.
  • The ending subverts the classical western movie.
  • Dissolve shows loss of romanticism.
• The Wild Bunch (1969) dir. Sam Peckinpah
  • Expanded idea of stretching time in film.
• Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
  • Shows Sam’s conflicted mind over America’s history.
  • Garrett and Billy are shown as ghosts of the past.
• Badlands (1973) dir. Terrence Malick
  • Reflections on Vietnam.
• Days of Heaven (1978) dir. Terrence Malick
  • The camera flows just as the environment does.
  • Used peanut shells are used to resemble locusts.
  • The flames cast the actors as silhouettes.
• Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
  • Wind is seen as nature coming alive.
• Cabaret (1972) dir. Bob Fosse
  • Musical is shown close up, the camera tilts up with the people.
• The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
  • Successfully upgrades the mobster genre of the 1930’s.
  • The lighting shadows the face of the Don.
• Chinatown (1974) dir. Roman Polanski
  • Depicts the ruining of the land to support Los Angeles.
  • Noire-style color.
• The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
  • Dark for the time, not nearly as dark as the new modern movies.
• Jules et Jim (1962) dir. François Truffaut