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
  • Shows his personal life on camera
• All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
  • Re imagined later by Fassbinder
• Ali: Fear Eats the Soul (1974) (a.k.a. Angst essen Seele auf) dir. Rainer Werner Fassbinder
  • Scene from All That Heaven Allows recreated.
  • Film about the darkness of human identity
• The Bitter Tears of Petra von Kant (1972) (a.k.a. Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
  • Actors were made to move slowly, as if exhausted.
• All About Eve (1950) dir. Joseph L. Mankiewicz
  • Took this film into mind for Petra Von Kant for thematic similarity.
• Alice in the Cities (1974) (a.k.a. Alice in den Städten) dir. Wim Wenders
  • Character influenced by the director.
  • Minimalistic storyboard.
  • Camera tends to roam.
• An Affair to Remember (1957) dir. Leo McCarey
• Gods of the Plague (1970) (a.k.a. Götter der Pest) dir. Rainer Werner Fassbinder
  • Actress shown as bitter.
• The Second Awakening of Christa Klages (1978) (a.k.a. Das zweite Erwachen der Christa Klages) dir. Margarethe von Trotta
  • Actress is then in a film about robbing a bank, a very non glamorous robbery.
• Burden of Dreams (1982) dir. Les Blank
  • Speaks about hauling a boat over a massive hill, and how it serves as a good central message for his film.
• Arabian Nights (1974) (a.k.a. Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
  • Supposed to be a non-consumerist film
  • Director was murdered later.
• The Spider’s Stratagem (1970) (a.k.a. Strategia del ragno) dir. Bernardo Bertolucci
  • Camera uses pans to add story to the character, a bust of his father.
  • This camera pan to the right is used multiple times. The camera pans to the right, then stops on a still character, the camera moves and the person moves.
• The Conformist (1970) (a.k.a. Il conformista) dir. Bernardo Bertolucci
  • Also about fascism
  • Consistently bold camera work, the world moves just as the camera does.
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • Scene of violence filmed gracefully, as influenced by the Italian cinema.
• Women in Love (1969) dir. Ken Russell
  • Sex scene filmed metaphorically.
• Performance (1970) dir. Donald Cammell & Nicolas Roeg
  • Narcissistic person dresses themselves up
  • Dissolve through the back of the head of a character, then shows that character’s perspective.
  • Most important 70’s film over identity.
• Mean Streets (1973) (introduced in Episode 9) dir. Martin Scorsese
  • Similar scene to Performance.
• Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
  • Similar forward shot from Performance influenced by this.
• Walkabout (1971) dir. Nicolas Roeg
  • The wide angle lenses shows the massive scale of the land the two traverse, as well as oceans.
• Picnic at Hanging Rock (1975) dir. Peter Weir
  • Slow motion is used to create a sense of mystery.
  • Supposed to explain the disappearance, he ended up using clever editing and mystique instead.
• My Brilliant Career (1979) dir. Gillian Armstrong
  • The film is about relations with men.
  • Man filmed in glossier ways than the woman.
• Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
  • A documentary filmed over the course of 17 years.
  • One of the greatest documentaries ever made.
  • Forces director board to face their long term actions that hurt an entire community
  • Very emotional scene in the crowd as a director is blocked by someone they know.
• The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
  • Hara films in handheld, a documentary to piece together the story of a soldier.
  • Learns that the soldier was probably cannibalized.
• Black Girl (1966) (a.k.a. La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
  • The beginning of African film.
• Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
  • The images of the time were still unrealistic, as shown here.
• La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
  • The film has no delusion to it’s portrayal of the land.
• Xala (1975) dir. Ousmane Sembène
  • Begins with the end of colonial rule.
  • Shows the new businessmen just as decadent as the old colonial rulers.
• Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
• Badou Boy (1970) dir. Djibril Diop Mambéty
  • The saddling of the horse is made to look jagged by the repetition of character’s movements.
• Hyènes (1992) (a.k.a. Hyenas/Ramatou) dir. Djibril Diop Mambéty
  • Woman returns to her village rich, and treats the village to consumer products.
  • The people only grow to want more, and are told they can have more if they kill a man who spurned her.
  • Very anti-consumerism.
• Kaddu Beykat (1975) (a.k.a. Lettre paysanne) dir. Safi Faye
  • The village is shown to be beautiful, portrayed in soft black and white at medium framing.
• Harvest: 3,000 Years (1976) (a.k.a. Mirt sost shi amit) dir. Haile Gerima
  • Similar to Kaddu Beykat, with very long lenses.
  • Old colonial powers represented by an evil landlord.
• Umut (1970) (a.k.a. Hope) dir. Yilmaz Güney & Serif Gören
  • Ripped clothing shows how poor the character is.
• Yol (1982) dir. Yilmaz Güney & Serif Gören
  • A man is shown in vibrant light and wide shots when he is released from prison for five days.
  • The man’s cheer dies when he realizes the military are there.
• The Battle of Chile (1975/1977/1979) (a.k.a. La batalla de Chile) dir. Patricio Guzmán
  • A rare documentary showing a coup in progress in the raw.
• The Holy Mountain (1973) (a.k.a. La montaña sagrada) dir. Alejandro Jodorowsky
  • The thief ascends a tower, only to find a strange world of images.
  • More so an internal journey for the thief than an external one.