1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- Used light very interestingly. imitated sepulchre.
- The Thief of Bagdad (1924) dir. Raoul Walsh
- Not based on actual Baghdad, an artist’s imagination
- states theme upfront
- uses soft lighting and shallow focus to portray femininity
- Desire (1936) dir. Frank Borzage
- Used light to make eyelashes cast shadows
- Gone with the Wind (1939) dir. Victor Fleming
- Used dollies to move camera and get an image glide, like blown by wind
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- Choreographed with abstract patterns
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- Even shadows have light
- The Maltese Falcon (1941) dir. John Huston
- Used harder lighting and sharper shadows to convey the melodrama of the movie
- The Scarlet Empress (1934) dir. Josef von Sternberg
- Paramount’s style was very sparkly costumes, feminine and romantic
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- Thought like an architect to make gags
- Movies are about looking, break fourth wall
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- Keaton helped define silent cinema
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- Uses overhead shot to exaggerate building height
- creative camera positions
- Buster Keaton Rides Again (1965) dir. John Spotton
- Uses spontaneity with plans in gags
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- repeats jokes in second half, but backwards
- stunning climax
- Divine Intervention (2002) dir. Elia Suleiman
- Influenced by Keaton, films in deadpan. Stays back from action
- Limelight (1952) dir. Charlie Chaplin
- Less into camera, more body movement
- City Lights (1931) dir. Charlie Chaplin
- The Kid (1921) dir. Charlie Chaplin
- Recreated chaplin’s childhood
- Humanized comic cinema
- Bad Timing (1980) dir. Nicolas Roeg
- Uses filming of hands to show inner thoughts of characters
- The Great Dictator (1940) dir. Charlie Chaplin
- Metaphor
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- inspired by chaplin pants
- Toto in Color (1953) dir. Steno
- Imitated chaplin hat
- Awaara (1951) dir. Raj Kapoor
- Character modeled after chaplin’s tramp
- Sunset Boulevard (1950) dir. Billy Wilder
- IMpersonation of chaplin
- Some Like It Hot (1959) dir. Billy Wilder
- Recreated chaplin scene
- Luke’s Movie Muddle (1916) dir. Hal Roach
- Imitated chaplin too much
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- Moved away fromcahplin impersonation and created new image
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- Final scene of climbing iconic
- I Flunked, But… (1930) dir. Yasujirō Ozu
- influenced by “ballsy dreamer” image
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- Shows struggle and psychology of Nanook.
- Didn’t use actors or stars
- created the documentary
- The House Is Black (1963) dir. Forough Farrokhzad
- used tracking shots to turn depressing subject into poetry
- Sans Soleil (1983) dir. Chris Marker
- used real places to write fictional commentary
- The Not Dead (2007) dir. Brian Hill
- turned man’s words about war into poems
- 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
- played with obstructions in film making
- Blind Husbands (1919) dir. Erich von Stroheim
- used realism to undermine hollywood fantasy
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Greed (1924) dir. Erich von Stroheim
- Picky about minor details
- Stroheim in Vienna (1948)
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- movie was never made, but referenced
- The Crowd (1928) dir. King Vidor
- tells a story of grief in ordinary people
- tried out different endings on audiences
- The Apartment (1960) dir. Billy Wilder
- The Trial (1962) dir. Orson Welles
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- Played with ideas of realism
- very abstract and geometric costumes and sets
- Posle Smerti (1915) dir. Yevgeni Bauer
- Shapes of light imitates vermeer
- laments and pessimistic, not optimistic like others
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- Protagonist filmed onlyin close up, very realist view of actress.
- filmed in silence
- Ordet (1955) dir. Carl Theodor Dreyer
- “you cant simplify realtiy without understanding it first”
- The President (1919) dir. Carl Theodor Dreyer
- very simple sets, used mist to soften the image
- Vampyr (1932) dir. Carl Theodor Dreyer
- focuses on shadows to tell story
- very spare decoration
- Gertrud (1964) dir. Carl Theodor Dreyer
- Dogville (2003) dir. Lars von Trier
- opposite of romantic cinema
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
- references the Passion of Joan of Arc