1970s and Onwards: Innovation in Popular Culture – Around the World.

• The Kingdom and the Beauty (1959) dir. Li Han-hsiang
  • Resembles 1950’s film with the sets and colors used.
• A Touch of Zen (1971) dir. King Hu
  • Much faster paced, dramatic movements and more muted colors.
  • Movie changes tone partway through.
• Enter the Dragon (1973) dir. Robert Clouse
  • More personal and angry feel to the movies, based on the personal experience of Bruce Lee.
• A Better Tomorrow (1986) dir. John Woo
  • Gangster film, intense movies.
• Iron Monkey (1993) dir. Yuen Woo-ping
  • Very dynamic use of space and accentuating angles to display the action, even if they are a bit whimsical.
• The Matrix (1999) dir. Lilly Wachowski & Lana Wachowski
  • Clear influence from Yuen, who worked on the movie.
• Once Upon a Time in China (1991) dir. Tsui Hark
  • Dramatic camera angles, slapstick humor.
  • Scene staged as a gun fight.
• New Dragon Gate Inn (1992) dir. Raymond Lee
• Mughal-e-Azam (1960) dir. K. Asif
  • Glittering, opulent aesthetic, more successful than Gone With The Wind.
• Devi (1960) (introduced in Episode 6) dir. Satyajit Ray
• Mausam (1975) dir. Gulzar
  • A musical drama, designed with a very modern look.
  • Shows past and present in the same frame.
• Zanjeer (1973) dir. Prakash Mehra
  • A zooming montage conveys the horrific feelings on display.
• Sholay (1975) dir. Ramesh Sippy
  • Another of the most influential films of all time.
  • Captured the feelings of the time acutely.
  • Contrast between the emotions of each scene.
• The Message: The Story of Islam (1976) (a.k.a. Mohammad, Messenger of God) dir. Moustapha Akkad
  • Very popular film.
  • Made in both English and Arabic.
  • Shows one-sided conversation creatively.
• The Making of an Epic: Mohammad, Messenger of God (1976) dir. Geoffrey Helman & Christopher Penfold
  • Shows director’s diligence. 
• The Sparrow (1972) dir. Youssef Chahine
  • Portrays a shameful moment in Egypt’s history, the feeling of the scene swells as the scale of it grows.
• The Exorcist (1973) dir. William Friedkin
  • Brilliant voice actor, aided by off camera tactics.
  • Dramatic audience reactions.
• A Guy Named Joe (1943) dir. Victor Fleming
  • Films like this influenced Spielberg
• Jaws (1975) dir. Steven Spielberg
  • Camera bobs with the sea.
  • Both innovative and establishment film.
• The Making of Steven Spielberg’s Jaws (1995) dir. Laurent Bouzereau
  • Steven describes his technique for making shots seem as if they are one take while showing different camera views.
• Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
• Close Encounters of the Third Kind (1977) dir. Steven Spielberg
  • Signature Spielberg awe shot, followed by a slow reveal.
• Jurassic Park (1993) dir. Steven Spielberg
  • Similar awe shot.
• Star Wars (1977) (introduced in Episode 1) dir. George Lucas
  • Opens like a fairy tale, such is the story of the film.
  • Movie brims with influence from all the story of film.
• The Hidden Fortress (1958) dir. Akira Kurosawa
  • Inspires the characters and some scenes of Star Wars.
• Triumph of the Will (1935) (a.k.a. Triumph des Willens) (introduced in Episode 4) dir. Leni Riefenstahl
  • Inspires the evil characters in Star Wars.

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.

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

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

• Ashes and Diamonds (1958) dir. Andrzej Wajda
  • A movie full of symbolism about the state of the world.
• Two Men and a Wardrobe (1958) (introduced in Episode 4) dir. Roman Polanski
  • Director shown very young here.
• Hamlet (1948) dir. Laurence Olivier
  • Inspired Roman.
• Knife in the Water (1962) dir. Roman Polanski
  • One of the most claustrophobic films.
  • Did not deal with war.
• The Fearless Vampire Killers (1967) dir. Roman Polanski
  • A comedy, Polanski died by the Mansons after entering Hollywood.
• The Hand (1965) dir. Jiří Trnka
  • A symbolic animated film, stop motion and live action.
• The Fireman’s Ball (1967) dir. Miloš Forman
  • A comedy about incompetent firemen.
  • Filmed like a documentary.
• Daisies (1966) dir. Věra Chytilová
  • Sound effects make the women sound wooden.
  • Very experimental and colorful.
• The Red and the White (1968) dir. Miklós Jancsó
  • 3 minute shot of a soldier watching his friend be captured.
  • Used to raise suspense.
  • Keeps away from actor’s faces till the very end.
• Une journée d’Andrei Arsenevitch (2000) dir. Chris Marker
  • Shows Andrei lining up a shot.
• Andrei Rublev (1966) dir. Andrei Tarkovsky
  • A tracking shot is shown from a balloon.
  • Banned for six years.
• The Mirror (1975) dir. Andrei Tarkovsky
  • Themes of ascension and christianity.
• Stalker (1979) dir. Andrei Tarkovsky
  • Ending scene not directly related to the events of the film, but very related to the film overall.
• Nostalghia (1983) dir. Andrei Tarkovsky
  • Reflections in the pool of water show a ruined cathedral that was previously not shown by the camera, which contained the film.
• Shadows of our Forgotten Ancestors (1965) dir. Sergei Parajanov
  • Camera angles track to the environment, with heavy use of the foreground.
• Andrei Tarkovsky & Sergei Parajanov – Islands (1988) dir. Levon Grigoryan
  • Shows Parajanov directing his actors like he is directing an orchestra.
• Boy (1969) dir. Nagisa Oshima
  • Shows Japan as greedy through a pessimistic lense.
• In the Realm of the Senses (1976) dir. Nagisa Oshima
  • Framed by a window in the foreground.
• Love and Crime (1969) dir. Teruo Ishii
• The Insect Woman (1963) dir. Shōhei Imamura
  • Insect symbolizes humans struggling with life.
  • Difference between child and person shown by camera focus.
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • Deep space.
• Nippon Sengoshi – Madamu Onboro No Seikatsu (1970) dir. Shōhei Imamura
  • Interview with a very blunt woman.
• Ajantrik (1958) dir. Ritwik Ghatak
  • Very emotional films, classical melodrama.
• The Cloud-Capped Star (1960) dir. Ritwik Ghatak
  • About India’s original sin.
  • Striking opening shot.
• Jukti Takko Aar Gappo (1975) dir. Ritwik Ghatak
  • Manipulated audio from conversation.
• Uski Roti (1970) dir. Mani Kaul
  • Very precise pacing to the films, made to be slower.
• Black God, White Devil (1964) dir. Glauber Rocha
  • Opposite to standard films of Brazil.
• I Am Cuba (1964) dir. Mikhail Kalatozov
  • Very impressive camera movements.
• The House Is Black (1963) (introduced in Episode 2) dir. Forugh Farrokhzad
  • Founding Iranian film.
  • Shots rhyme together
• Black Girl (1966) dir. Ousmane Sembène
  • Deals with the virtue and monotony of work.
• Saturday Night and Sunday Morning (1960) dir. Karel Reisz
  • Shot naturally in the streets of middle Britain.
• Kes (1969) dir. Ken Loach
  • Emulates Czeck lighting.
  • Shot reverse shot.
• A Hard Day’s Night (1964) dir. Richard Lester
  • Sped up film shows the excitement of the youth.
• Primary (1960) dir. Robert Drew
  • Camera freely follows Kennedy regardless of gloss.
• Shadows (1959) dir. John Cassavetes
  • Style of Primary used for three stories here.
• Psycho (1960) dir. Alfred Hitchcock
  • Very fast cutting between a multitude of camera angles.
• 66 Scenes from America (1982) dir. Jørgen Leth
  • Very blank in appearance.
• Blow Job (1963) dir. Andy Warhol
• Who’s Afraid of Virginia Woolf? (1966) dir. Mike Nichols
  • Harsh lighting.
• Medium Cool (1969) dir. Haskell Wexler
  • Pulled together documentary, film and television
• Easy Rider (1969) dir. Dennis Hopper
  • Defines the era, captures carefree feeling of the day.
• Making “The Shining” (1980) dir. Vivian Kubrick
  • Shows Kubrick’s love of camera positioning.
• 2001: A Space Odyssey (1968) (introduced in Episode 1) dir. Stanley Kubrick
  • Cuts more time than any other edit in cinema history.
  • Camera shows that in space there is no center.
• Der Sieger (1921) dir. Walter Ruttmann
  • Gave inspiration to scenes of A Space Odyssey

 

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
  • More sensual than most of the time.
  • Allows the actress to look into the camera.
• The Seventh Seal (1957) dir. Ingmar Bergman
  • A knight questions his religion through his senses.
• Winter Light (1963) dir. Ingmar Bergman
  • Portrays god as dead.
  • Confesses his mistreatment of his wife.
• Persona (1966) dir. Ingmar Bergman
  • Makes the film the movie is on part of the visuals with a brief montage.
• Pickpocket (1959) dir. Robert Bresson
  • The opening is dull and flattened, the film has no flair to it.
• Au hasard Balthazar (1966) dir. Robert Bresson
  • The cinematography is blank and emotionless.
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • Mimics restraint of pickpocket.
• Ratcatcher (1999) dir. Lynne Ramsay
  • Attached to objects in the way Bresson was.
• Monsieur Hulot’s Holiday (1953) (introduced in Episode 2) dir. Jacques Tati
  • Shows how Tati responds to Chaplin.
• Mon Oncle (1956) dir. Jacques Tati
  • The old world is given a warm and vivid view.
  • The new world is colorless and flat.
  • In one scene, the frame never moves, just the eyes.
• Fellini’s Casanova (1976) dir. Federico Fellini
  • Vivid lighting and extravagant props.
• Nights of Cabiria (1957) dir. Federico Fellini
  • A great contrast between the feeling of each scene elevates emotions.
• 8½ (1963) dir. Federico Fellini
  • The script was always written last minute.
• Stardust Memories (1980) dir. Woody Allen
  • Influenced by 8 ½.
• Cléo from 5 to 7 (1962) dir. Agnès Varda
  • Flips between  greyscale and color.
  • Movie flows with emotion.
• Last Year at Marienbad (1961) dir. Alain Resnais
  • Unreliable narrator, a theme of uncertainty.
• The 400 Blows (1959) dir. François Truffaut
  • Reference to zoetrope.
  • About living in the moment.
• À bout de souffle (1959) dir. Jean-Luc Godard
  • Very close camera cuts show no transition.
• Life of an American Fireman (1903) (introduced in Episode 1) dir. Edwin S. Porter
• Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
  • Cuts show man’s internal agitation.
• Une femme mariée (1964) dir. Jean-Luc Godard
  • Scene mimicked by American Gigolo
• American Gigolo (1980) dir. Paul Schrader
  • Copies scene from Une femme mariee
• Accattone (1961) dir. Pier Paolo Pasolini
  • Uses grand scores to elevate the story.
  • Strong sense of grace.
• The Gospel According to St. Matthew (1964) dir. Pier Paolo Pasolini
  • Pictured Mary simply.
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
  • Influenced The Gospel
• A Fistful of Dollars (1964) dir. Sergio Leone
  • Foreground and background focused through deep staging.
• Once Upon a Time in the West (1968) (introduced in Episode 1) dir. Sergio Leone
  • Time stands still while gunmen wait.
• Johnny Guitar (1954) (introduced in Episode 6) dir. Nicholas Ray
  • Idea in once upon a time taken from here, expands the awaiting of the future.
• Senso (1954) dir. Luchino Visconti
  • The commoners look down upon the aristocracy, despite it being a ritual favoring them.
  • Uses crane shots.
• Rocco and His Brothers (1960) dir. Luchino Visconti
  • Sympathy for the poor, shows the hardship of a nomadic life looking for work.
  • Shoots from a tram as a crane shot.
• L’eclisse (1962) dir. Michelangelo Antonioni
  • Unconventional framing of people.
  • At the end, the actress walks out of the film, never to return.
• The Passenger (1975) dir. Michelangelo Antonioni
  • At the ending, the camera leaves Jack’s character, much as the other character left in L’eclisse, Jack is found dead later.
• The Travelling Players (1975) dir. Theodoros Angelopoulos
• The Wheelchair (1960) dir. Marco Ferreri
  • Strange comedy, mocks the living condition of an old man.
  • A combination of realism and irony.
• What Have I Done to Deserve This? (1984) dir. Pedro Almodóvar
  • Same sort of family as The Wheelchair.
• Viridiana (1961) dir. Luis Buñuel
  • The most banned film Luis ever made.
  • Extremely shocking situations.
• I Am Curious (Yellow) (1967) dir. Vilgot Sjöman
  • Woman confronts Martin Luther King during internal argument
• La Maman et la Putain (1973) dir. Jean Eustache
  • Man shows his despair straight through the camera through monologue.

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

• • Rebel Without a Cause (1955) dir. Nicholas Ray
    • Widescreen and color
    • Bursting emotions, a common theme of the times.
  • Cairo Station (1958) dir. Youssef Chahine
    • A melodrama, the first great Arab film.
  • Paper Flowers (1959) dir. Guru Dutt
    • Beam of light opens to film studio.
    • Opposite lighting of Hollywood.
  • Raja Harishchandra (1913) dir. Dadasaheb Phalke
    • Mythological film, like many early Indian films.
  • Sant Tukaram (1936) dir. Vishnupant Govind Damle and Sheikh Fattelal
    • Extreme realism predating Italian realism.
  • Pather Panchali (1955) dir. Satyajit Ray
    • Extremely potent cinematography.
  • Devi (1960) dir. Satyajit Ray
    • Lighting was made to look like candle light.
  • Mother India (1957) dir. Mehboob Khan
    • A very emotional and melodramatic film.
    • Themes of struggle.
  • Two Stage Sisters (1964) dir. Xie Jin
    • The common melodramatic camera movements of quick pans and tilts
  • Ikiru (1952) dir. Akira Kurosawa
    • Cinematography shows downtrodden inner thoughts of the main character.
  • Stray Dog (1949) dir. Akira Kurosawa
    • Shows the “Staying power” of common Kurosawa heroes.
  • Seven Samurai (1954) (introduced in Episode 4) dir. Akira Kurosawa
    • Shows persistence but also tragedy of these heroes.
  • Throne of Blood (1957) dir. Akira Kurosawa
    • Trees shown intimidatingly by their movement
  • The Godfather (1972) dir. Francis Ford Coppola
    • Mimics death scene in Throne of Blood.
  • The Magnificent Seven (1960) dir. John Sturges
    • Remake of Seven Samurai.
  • Limite (1931) (introduced in Episode 4) dir. Mário Peixoto
    • Expressive camera.
  • Rio 40 Graus (a.k.a. Rio 100 Degrees F.) (1955) dir. Nelson Pereira dos Santos
    • Bold deep staging.
    • Influential Brazillian filmmaker.
  • The Life of General Villa (1914) dir. Christy Cabanne

 

• Shows how influenced by life Mexican films were.

 

• Doña Bárbara (1943) dir. Fernando de Fuentes and Miguel M. Delgado
  • Very influential on Mexican cinema.
• The Wild Bunch (1969) dir. Sam Peckinpah
  • Shows very influential filmmaker Emilio
• La perla (1947) dir. Emilio Fernández
  • Emilio often shows mixed race heroes commonly.
  • One of the greatest cinematographers of the time filmed this.
• Los Olvidados (1950) dir. Luis Buñuel
  • High contrast film.
  • Harrowing dream sequence.
• All That Heaven Allows (1955) dir. Douglas Sirk
  • The ideal version of America by Eisenhower’s standards.
  • Shows sickness of television in the scene where she is imprisoned by it.
• I’m a Stranger Here Myself (1975) dir. David Helpern
  • Shows argumentativeness of Nicholas
• Johnny Guitar (1954) dir. Nicholas Ray
  • Actress argues with him in this movie.
• Fireworks (1947) dir. Kenneth Anger
  • Anger beaten by sailors.
• Scorpio Rising (1964) dir. Kenneth Anger
  • Very inspired by Fireworks.
• Marty (television show) (1953) dir. Delbert Mann
  • TV Drama, shows a lowly butcher being rejected.
  • Not so much the gloss of Hollywood.
• Marty (1955) dir. Delbert Mann
• On the Waterfront (1954) dir. Elia Kazan
  • Powerful performance confronting union boss
• Red River (1948) dir. Howard Hawks and Arthur Rosson
  • Fight between old and new style cinema.
• Touch of Evil (1958) dir. Orson Welles
  • Cinematography and setting support character.
• The Searchers (1956) dir. John Ford
  • Also about obsession with a woman.
• Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
  • Also about obsession with a woman.
• Rio Bravo (1959) (introduced in Episode 5) dir. Howard Hawks
  • The posse of lawmen are the closest thing to a normal functional family America saw in the 50’s.
• Great Expectations (1946) dir. David Lean
  • Clock shows how the upper class has been stopped in time.
• Lawrence of Arabia (1962) dir. David Lean
  • Famous shot from the match to the landscape of Arabia.
• O Dreamland (1953) dir. Lindsay Anderson
  • Anderson saw all as selfish and disappointing, and the people reflect that.
• Battleship Potemkin (1925) (introduced in Episode 3) dir. Sergei Eisenstein
  • The working class was portrayed as the most noble.

…And God Created Woman (1956) dir. Roger Vadim

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.

The 1930s: The Great American Movie Genres…

• Her Dilemma (a.k.a. Confessions of a Co-Ed) (1931) dir. Dudley Murphy
  • Sound became the main feature of cinema in America, the visuals sank to the backdrop.
  • Lighting became flatter to abide multiple cameras
• Love Me Tonight (1932) dir. Rouben Mamoulian
  • An explosively inventive musical, shows life as a symphony.
  • The music carries from one to another through the city while the camera follows.
  • Used sounds that fit, but not necessarily always originating from the associated item.
• The Golem: How He Came into the World (1920) dir. Carl Boese and Paul Wegener
  • Had bold diagonal composition.
  • Horror movie.
• Frankenstein (1931) dir. James Whale
  • Borrows heavily from The Golem.
  • Very different from original novel.
• Eyes Without a Face (1960) dir. Georges Franju
  • Builds dread through the mystery of the masked woman.
• Audition (1999) dir. Takashi Miike
  • One of the greatest shocks in cinema with the thing in the bag.
• The Public Enemy (1931) dir. William A. Wellman
  • One of the first great gangster pictures.
  • Shows no empathy, very charming.
• Scarface (1932) dir. Howard Hawks and Richard Rosson
  • Turns gangster genre into tragedy.
• Scarface (1983) dir. Brian De Palma
  • Very effective crane shots, lots of 80’s charm.
  • Mirrors shot from the original with different meaning.
• Seven Samurai (1954) dir. Akira Kurosawa
  • Gangster themes mixed in with classical storytelling.
• Once Upon a Time in America (1984) dir. Sergio Leone
  • One of the best gangster pictures.
• The Iron Horse (1924) dir. John Ford
  • Uses train as camera dolly.
• My Darling Clementine (1946) dir. John Ford
  • Shows difference between ideals in westerns and gangster movies.
• Twentieth Century (1934) dir. Howard Hawks
  • Comedy film, expertise in acting quickly.
• Bringing Up Baby (1938) dir. Howard Hawks
  • Even faster pace, overlapping dialogue.
  • There was a great deal more realism in this.
• The Men Who Made the Movies: Howard Hawks (1973) dir. Richard Schickel
  • Shows Howard as plain spoken and somewhat gruff.
  • Shaped popular movie genres.
• Gold Diggers of 1933 (1933) (introduced in Episode 1) dir. Mervyn LeRoy
  • Choreographed by a military man.
• Gertie the Dinosaur (1914) dir. Winsor McCay
  • Animated film, one of the first.
• The Adventures of Prince Achmed (1926) dir. Lotte Reiniger
  • Uses cutouts of characters to animate.
• Plane Crazy (1928) dir. Walt Disney and Ub Iwerks
  • Turned animation into a multi nationally famous art form.
• Snow White and the Seven Dwarfs (1937) dir. David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben Sharpsteen
  • Worldwide box office hit.
  • Primitive motion capture.
• One Hundred and One Dalmatians (1961) dir. Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman
  • Cheaper animation style, did not look as good.

…And the Brilliance of European Film

• The Blood of a Poet (1931) dir. Jean Cocteau
  • Surreal world of an artist’s mind.
• Inception (2010) dir. Christopher Nolan
  • Used same rolling hallway.
• Zéro de conduite (1933) dir. Jean Vigo
  • Slow motion, and plays with sound.
• If…. (1968) dir. Lindsay Anderson
  • Combines themes of Zero de conduite with British classes.
• L’Atalante (1934) dir. Jean Vigo
  • Used upward angles to hide continuity errors.
• Le Quai des brumes (1938) dir. Marcel Carné
  • Poetic realist film, very dark mood.
• Les Enfants du Paradis (1945) dir. Marcel Carné
  • The street mime portrays what happened, now with musical backing.
• La Règle du jeu (1939) (a.k.a. The Rules of the Game) dir. Jean Renoir
  • The camera simply observes humanity.
  • Powerful message reflective or French ideals after the second world war.
• La Grande Illusion (1937) dir. Jean Renoir
  • Shows equality between the good and evil of each type of person.
  • Not a linear path from start to finish for plot.
• Limite (1931) dir. Mário Peixoto
  • Creative camera movements.
• The Adventures of a Good Citizen (1937) dir. Stefan Themerson
  • A surreal movie, based on men carrying a big mirror.
• Two Men and a Wardrobe (1958) dir. Roman Polanski
  • Seems to follow the example, also about carrying a wardrobe around.
• Das Blaue Licht (1932) dir. Leni Riefenstahl
  • Uses soft light and mist, mountains and close ups.
• Triumph of the Will (1935) dir. Leni Riefenstahl
  • Romanticizes Hitler. Geometric and bold images.
• Behind the Scenes of the Filming of the Olympic Games (1937) dir. Leni Riefenstahl
  • Filming the Olympic games, with zoom lenses to show great detail.
• Olympia Part Two: Festival of Beauty (1938) dir. Leni Riefenstahl
  • Makes divers soar by reversing images and not showing them touch the water.
• Tiefland (1954) dir. Leni Riefenstahl
  • Accused of using people from concentration camps in this film.
• The Wonderful, Horrible Life of Leni Riefenstahl (1993) dir. Ray Müller
  • Never compromised on her style.
• Vertigo (1958) dir. Alfred Hitchcock
  • Uses tracking shot he remembers from his childhood movie viewings.
• Saboteur (1942) dir. Alfred Hitchcock
  • Otherworldly logic, clothes dry when they are needed.
  • No music to build tension.
• Sabotage (1936) dir. Alfred Hitchcock
  • Portrays fear as a very different thing than shock, builds suspense to make the shock greater.
• The 39 Steps (1935) dir. Alfred Hitchcock
  • Film is filled with hands.
  • Instead of an establishing shot, the world very slowly comes into view.
• Marnie (1964) dir. Alfred Hitchcock
  • Very effective shots to show energy levels.
• Ninotchka (1939) dir. Ernst Lubitsch
  • Glamorous, indulgent in escapism.
• The Wizard of Oz (1939) dir. Victor Fleming
  • Uses color to show a transition between places.
  • Shows the dream as a false one.
• Gone with the Wind (1939) (introduced in Episode 2) dir. Victor Fleming
  • Attacks escapism as a truly awful thing, while being escapist.

Notes

1918-1932: The Great Rebel Filmmakers Around the World

• The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
• Robert and Bertram (1915) dir. Max Mack
  • Overacting in movies to make fun of romanticism of love
• The Oyster Princess (1919) dir. Ernst Lubitsch
  • Very comedic portrayal of romanticised concepts
• The Mountain Cat (1921) dir. Ernst Lubitsch
  • Overt and daring imagery of heart thrown to another
  • Very surreal production
• The Marriage Circle (1924) dir. Ernst Lubitsch
  • Uses objects to convey things forbidden in America
• La Roue (1923) dir. Abel Gance
  • Impressionist work, tells story of love triangle
  • Shows the inner thoughts of characters
• Napoléon (1927) dir. Abel Gance
  • Romanticised so far it put regular romanticism to shame
  • Used air compressed camera to show magnitude
  • It was filmed with three cameras showing the same scene.
• The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
  • Expressionist film, full of fear and vivid images.
  • Used flat light and painted shadows
• The Tell-Tale Heart (1928) dir. Charles Klein
  • Influenced by Caligari
• The Lodger (1927) dir. Alfred Hitchcock
  • Influenced by Caligari
• A Page of Madness (1926) dir. Teinosuke Kinugasa
  • Influenced by Caligari
• Metropolis (1927) dir. Fritz Lang
  • Political, shows class warfare between upper and lower classes.
• The Crowd (1928) (introduced in Episode 2) dir. King Vidor
  • Influenced by Metropolis
• Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
  • Very symbolic imagery
  • Voted the best film of all time by French critics
• Opus 1 (1921) dir. Walter Ruttmann
  • Abstract animated film
• Entr’acte (1924) dir. René Clair
  • Comedy-based with strange shots
• Rien que les heures (1926) dir. Alberto Cavalcanti
  • Strange and haunting
• Spellbound (1945) dir. Alfred Hitchcock
  • Salvador Dali inspired by previous film
• Un Chien Andalou (1929) dir. Luis Buñuel
  • Made from the conversations between Bunuel and Dali
  • Extremely surreal imagery
  • Innovative editing
• Blue Velvet (1986) dir. David Lynch
  • Inspired shots of ants and ears
• L’Age d’Or (1930) dir. Luis Buñuel
  • Rejected in theatres for years
• Kino-Pravda n. 19 (1924) dir. Dziga Vertov
• Glumov’s Diary (1923) dir. Sergei Eisenstein
• Battleship Potemkin (1925) dir. Sergei Eisenstein
  • Used shots of the dead rolling down the steps to communicate horrors of war from many angles
  • Carriage rolling down steps
  • Montage
• The Untouchables (1987) dir. Brian De Palma
  • Inspired by Potemkin
• Arsenal (1929) dir. Alexander Dovzhenko
  • Relates to complex political state of nation
  • Striking use of dead yet laughing soldiers.
• Earth (1930) dir. Alexander Dovzhenko
• I Was Born, But… (1932) dir. Yasujirō Ozu
  • Comedy about brothers, does not match mature reputation of director
• Tokyo Story (1953) dir. Yasujirō Ozu
  • Most acclaimed film of director
  • Filmed at a lower height
  • Filmed between actors to show talking
• Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
  • Also used the lower height
• The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
  • Pauses in the film
• Osaka Elegy (1936) dir. Kenji Mizoguchi
  • Focuses on the misery of women in Japan, bold staging
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • Similar framing as Mizoguchi
• Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
  • Shows character’s moral indignation through framing
  • Mizoguchi was known as a woman’s director
• Mildred Pierce (1945) dir. Michael Curtiz
  • Inspired scene as in Osaka Elegy, but with a Hollywood gloss.
• Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
  • Uses regular romanticism
• Scenes of City Life (1935) dir. Yuan Muzhi
  • Uses inventive camera angles to portray seduction
• The Goddess (1934) dir. Wu Yonggang
  • Tracking shot to show transfering whispers
  • Many remember these movies as accurate reflections of society
• Center Stage (1991) dir. Stanley Kwan
  • Repeat a scene from The Goddess, recreated beautifully.
• New Women (1935) dir. Cai Chusheng
  • Famous actress died of an overdose after being bashed by press in similar circumstances to the character she played.

Notes

1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
  • Shows the power of light
• The Thief of Bagdad (1924) dir. Raoul Walsh
  • Incredibly large scale, extravagant and constructed
  • The theme is given immediately, as well as all the other components of the story. Highly digestible
• Desire (1936) dir. Frank Borzage
  • Uses lights to force shadows for story reasons
• Gone with the Wind (1939) dir. Victor Fleming
  • Dolly to make the camera glide with the wind
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
  • Choreography excellence
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
  • All the shadows have light in them
• The Maltese Falcon (1941) dir. John Huston
  • Hard and sharp lighting
• The Scarlet Empress (1934) dir. Josef von Sternberg
  • Sparkling and dramatic visual style
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
  • Keaton shows his own fascination in cameras
• One Week (1920) dir. Edward F. Cline and Buster Keaton
  • Directs like an architect
• Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
  • Shows space to build suspense, real or not.
• Buster Keaton Rides Again (1965) dir. John Spotton
  • Improvises gags well.
• The General (1926) dir. Clyde Bruckman and Buster Keaton
  • Comedy epic, each joke is shown two ways, one in the start of the train and one in the back.
  • Ending scene is said to be the most extravagant scene made for a comedy. 
• Divine Intervention (2002) dir. Elia Suleiman
  • Influenced heavily by Keaton, with deadpan humor
• Limelight (1952) dir. Charlie Chaplin
  • Shows how Chaplin was very into body movement
• City Lights (1931) dir. Charlie Chaplin
  • Rehearses his motions beforehand
• The Kid (1921) dir. Charlie Chaplin
  • A focus on Chaplin’s childhood
  • Made the comedy human
• Bad Timing (1980) dir. Nicolas Roeg
  • Close ups show a different story than wide shots
• The Great Dictator (1940) dir. Charlie Chaplin
  • Great metaphor for what Hitler was doing with the world
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
  • Very inspired by Chaplin
• Toto in Color (1953) dir. Steno
  • Also inspired by Chaplin
• Awaara (1951) dir. Raj Kapoor
  • Also inspired by Chaplin
• Sunset Boulevard (1950) dir. Billy Wilder
  • Chaplin impersonation
• Some Like It Hot (1959) dir. Billy Wilder
  • Reworks scene from The Great Dictator
• Luke’s Movie Muddle (1916) dir. Hal Roach
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
  • Used a new look to contradict usual opinion of look
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
  • Shows Daring of his character
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
  • Lloyd does daring building climb stunt
• I Flunked, But… (1930) dir. Yasujirō Ozu
  • Influenced by the dreamer

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
  • All about the psychology of the actors, did not use well known faces
• The House Is Black (1963) dir. Forough Farrokhzad
  • Used tracking shots to show a family with leprosy in a better light
• Sans Soleil (1983) dir. Chris Marker
  • Made a fake commentary with real footage
• The Not Dead (2007) dir. Brian Hill
  • Turned a veteran’s words into poetry
• The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
• The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
  • Constant challenges to the director
• Blind Husbands (1919) dir. Erich von Stroheim
  • Shows actor in evil light at start of the movie.
• The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
• Greed (1924) dir. Erich von Stroheim
  • Shows the lesser sides of people, uses color to show progression of theme
• Stroheim in Vienna (1948)
  • Ultra realism was stigmatized and Stroheim was shoved out of the film industry.
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
  • Unreleased Stroheim movie was shown within another movie.
• The Crowd (1928) dir. King Vidor
  • Has no center villain, just realism, shows lots of human emotion
• The Apartment (1960) dir. Billy Wilder
  • Repeats shot from Vidor
• The Trial (1962) dir. Orson Welles
  • Exaggerates the shot with a swooping camera and shorter people
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
  • Shows the city life of the world as the most real aspect of the world
• Posle Smerti (1915) dir. Yevgeni Bauer
  • Uses door to make the shot look like a painting
  • Makes the movie look natural from light shown on screen
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
  • Joan is filmed only in close up, and only with the most natural circumstances
• Ordet (1955) dir. Carl Theodor Dreyer
  • Set was built to feel real by a true cook
• The President (1919) dir. Carl Theodor Dreyer
  • Tries to simplify and soften his imagery
• Vampyr (1932) dir. Carl Theodor Dreyer
  • The shadows of characters are given their own character
  • Uses lots of white, uncommon for hollywood.
• Gertrud (1964) dir. Carl Theodor Dreyer
  • White filter to create a heavenly lighting
• Dogville (2003) dir. Lars von Trier
  • Absolutely no sets in the film
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
  • Passion of Joan of Arc shown in the movie