The Following Information is From Wikipedia
1967-1979: New American Cinema.
- Duck Soup (1933) dir. Leo McCarey
- Artists and Models (1955) dir. Frank Tashlin
- Catch-22 (1970) dir. Mike Nichols
- upside down camera angle to show an upside down world
- Mash (1970) dir. Robert Altman
- Filled frame with actors, all with mics and overlapped dialogue
- lighthearted attitude even though its a serious situation
- The Graduate (1967) dir. Mike Nichols
- Main character represents all of Nichols’s generation
- flipped lights on and off for pacing
- The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
- One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
- Naturalistic lights
- close ups
- The Last Movie (1971) dir. Dennis Hopper
- McCabe & Mrs. Miller (1971) dir. Robert Altman
- No heroes
- Visual uncertainty to match a 70s uncertianty
- The Conversation (1974) dir. Francis Ford Coppola
- Mean Streets (1973) dir. Martin Scorsese
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- camera moves away from Travis as if it’s too embarrassing to film
- Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
- Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
- Shot documentary style
- Italianamerican (1974) dir. Martin Scorsese
- American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
- 80s red lighting
- Light Sleeper (1992) dir. Paul Schrader
- Pickpocket (1959) (introduced in Episode 7) dir. Robert Bresson
- The Walker (2007) dir. Paul Schrader
- The Birth of a Nation (1915) (introduced in Episode 1) dir. D. W. Griffith
- Killer of Sheep (1978) dir. Charles Burnett
- a story put together from experiences Burnett whitnessed
- The Shop Around the Corner (1940) dir. Ernst Lubitsch
- Annie Hall (1977) dir. Woody Allen
- City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
- Manhattan (1979) dir. Woody Allen
- wide screen images
- The Last Picture Show (1971) dir. Peter Bogdanovich
- a mix of old and new
- The Wild Bunch (1969) dir. Sam Peckinpah
- Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
- coffin maker in half light, as if he Garrett’s consciousness
- Badlands (1973) dir. Terrence Malick
- Days of Heaven (1978) dir. Terrence Malick
- flowing camera
- Key scenes shot when the sun is below the horizon but there is still light
- very shallow focus in the fire scenes
- Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
- Cabaret (1972) dir. Bob Fosse
- The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
- Overhead lighting to create shadows in eye sockets
- Chinatown (1974) dir. Roman Polanski
- wide angle lenses, bright lights and precise framing
- The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
- Jules et Jim (1962) dir. François Truffaut