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.