1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
  • Shows Hollywood could “work wonders with light”
• The Thief of Bagdad (1924) dir. Raoul Walsh
  • An example of an amazing set design
• Desire (1936) dir. Frank Borzage
  • Lighting for dynamic shadows
• Gone with the Wind (1939) dir. Victor Fleming
  • Camera movement makes “Image glide”
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
  • Abstract choreography
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
  • Shadows had light
• The Maltese Falcon (1941) dir. John Huston
  • Shadows make the scene
• The Scarlet Empress (1934) dir. Josef von Sternberg
  • Lighting makes the scene
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
  • Camera fascination
• One Week (1920) dir. Edward F. Cline and Buster Keaton
  • Created by comical scene genius
• Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
  • Helps define silent films
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
  • Overhead shot
• Buster Keaton Rides Again (1965) dir. John Spotton
  • Has one of the most stunning visual events for a comedy movie
• The General (1926) dir. Clyde Bruckman and Buster Keaton
  • Helps more to define Keatons career
• Divine Intervention (2002) dir. Elia Suleiman
  • Inspired by Keaton
• Limelight (1952) dir. Charlie Chaplin
  • Body movement over camera movement
• City Lights (1931) dir. Charlie Chaplin
  • More examples of the importance of movement
• The Kid (1921) dir. Charlie Chaplin
  • Parallels real life characters into film
• Bad Timing (1980) dir. Nicolas Roeg
  • Unconscious life of characters
• The Great Dictator (1940) dir. Charlie Chaplin
  • Metaphor
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
  • Inspired by Chaplin
• Toto in Color (1953) dir. Steno
  • Made a star through Chaplin’s image
• Awaara (1951) dir. Raj Kapoor
  • Modeled Chaplin’s character
• Sunset Boulevard (1950) dir. Billy Wilder
  • Chaplin as Billy’s master
• Some Like It Hot (1959) dir. Billy Wilder
  • Scene inspirind by Chaplin
• Luke’s Movie Muddle (1916) dir. Hal Roach
  • Also inspired by Chaplin
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
  • Branches away from Chaplin look
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
  • Athleticism makes from interesting scenes
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
  • Has one of the most famous sequences of 20’s film
• I Flunked, But… (1930) dir. Yasujirō Ozu
  • Influenced by the absurd scenes

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
  • Longest non-fiction film up to it’s time
• The House Is Black (1963) dir. Forough Farrokhzad
  • Tracking shots in real life scenes
• Sans Soleil (1983) dir. Chris Marker
  • Real footage, fictional story
• The Not Dead (2007) dir. Brian Hill
  • Brought memories to life
• The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
  • Documentary
• The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
  • “The perfect human” remade with 5 challenges
• Blind Husbands (1919) dir. Erich von Stroheim
  • Creative shots
• The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
  • Obsessed with small details, like the way hair is combed
• Greed (1924) dir. Erich von Stroheim
  • Progresses story with color to represent emotions
• Stroheim in Vienna (1948)
  • Returns to his home town
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
• The Crowd (1928) dir. King Vidor
  • “Greatest pre-wall-street crash film”
• The Apartment (1960) dir. Billy Wilder
  • Great set design
• The Trial (1962) dir. Orson Welles
  • Expands on set design
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
  • Expands on angles in shots
• Posle Smerti (1915) dir. Yevgeni Bauer
  • Uses a source light
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
  • Scenes only use face and lighting for emotion
• Ordet (1955) dir. Carl Theodor Dreyer
  • Scene changes while it still happening
• The President (1919) dir. Carl Theodor Dreyer
  • Simplifies images
• Vampyr (1932) dir. Carl Theodor Dreyer
  • Uses shadows of people as characters
• Gertrud (1964) dir. Carl Theodor Dreyer
  • Uses a white screen in front of camera for emotion in film
• Dogville (2003) dir. Lars von Trier
  • Use minimalist sets to further film
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
  • Inspired by many previously mentioned films