The Following Information is From Wikipedia
The 1930s: The Great American Movie Genres…
- Her Dilemma (a.k.a. Confessions of a Co-Ed) (1931) dir. Dudley Murphy
- Picture came second because of sound
- Love Me Tonight (1932) dir. Rouben Mamoulian
- The waking up of Paris portrayed by a symphony of everyday sounds
- Traveling song, unifying sound
- The Golem: How He Came into the World (1920) dir. Carl Boese and Paul Wegener
- Diagonal composition
- Frankenstein (1931) dir. James Whale
- Borrowed a look from The Golem
- Eyes Without a Face (1960) dir. Georges Franju
- Audition (1999) dir. Takashi Miike
- The Public Enemy (1931) dir. William A. Wellman
- Fake gunshots to show alertness of the characters
- Scarface (1932) dir. Howard Hawks and Richard Rosson
- gangster into grief tragedy
- “the world is yours” Ironically
- Scarface (1983) dir. Brian De Palma
- Crane shots
- “The world is yours”
- Seven Samurai (1954) dir. Akira Kurosawa
- rainy scenes appeared to be drawn in charcoal
- Once Upon a Time in America (1984) dir. Sergio Leone
- The Iron Horse (1924) dir. John Ford
- Fast moving camera
- Filming from the train
- My Darling Clementine (1946) dir. John Ford
- Bright light
- Twentieth Century (1934) dir. Howard Hawks
- Feminized comedy
- Overdramatic actors
- Bringing Up Baby (1938) dir. Howard Hawks
- speed and mayhem
- Bright background so the actors stood out
- The Men Who Made the Movies: Howard Hawks (1973) dir. Richard Schickel
- Gold Diggers of 1933 (1933) (introduced in Episode 1) dir. Mervyn LeRoy
- soldiers marching on moving walkways in the rain
- A woman sings about the soldiers
- Gertie the Dinosaur (1914) dir. Winsor McCay
- The Adventures of Prince Achmed (1926) dir. Lotte Reiniger
- Plane Crazy (1928) dir. Walt Disney and Ub Iwerks
- simple line drawings
- first mickey mouse movie
- Snow White and the Seven Dwarfs (1937) dir. David Hand, William
- First motion capture
- Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben Sharpsteen
- One Hundred and One Dalmatians (1961) dir. Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman
…And the Brilliance of European Film
- The Blood of a Poet (1931) dir. Jean Cocteau
- set was shot on the side
- Inception (2010) dir. Christopher Nolan
- corridor built in a barrel that was spun
- Zéro de conduite (1933) dir. Jean Vigo
- reversed music
- If…. (1968) dir. Lindsay Anderson
- L’Atalante (1934) dir. Jean Vigo
- Upwards camera angle because of snow ruining continuity
- Le Quai des brumes (1938) dir. Marcel Carné
- Shot with diffusion on the lense
- Les Enfants du Paradis (1945) dir. Marcel Carné
- La Règle du jeu (1939) (a.k.a. The Rules of the Game) dir. Jean Renoir
- Uninovative camera work but the lines are iconic
- La Grande Illusion (1937) dir. Jean Renoir
- equally framed despite class differences
- stopped the main plot to have soldiers discuss morality
- Limite (1931) dir. Mário Peixoto
- no dialogue, no reverse angles, and a series of dissolves
- zoom in
- The Adventures of a Good Citizen (1937) dir. Stefan Themerson
- played with light and exposure
- Two Men and a Wardrobe (1958) dir. Roman Polanski
- shot from Adventures of a good citizen
- Das Blaue Licht (1932) dir. Leni Riefenstahl
- soft light, mist, mounted landscapes
- Triumph of the Will (1935) dir. Leni Riefenstahl
- Hitler and the Reich filmed in almost mythic terms
- epic and geometric shots
- Behind the Scenes of the Filming of the Olympic Games(1937) dir. Leni Riefenstahl
- attached cameras to balloons or put them in the ground
- zoom lenses introduced
- Olympia Part Two: Festival of Beauty (1938) dir. Leni Riefenstahl
- Tiefland (1954) dir. Leni Riefenstahl
- golssy film techniques, long tracking shots, and moody lighting
- The Wonderful, Horrible Life of Leni Riefenstahl (1993) dir. Ray Müller
- the camera can become the eye of a character
- Vertigo (1958) dir. Alfred Hitchcock
- used the camera as the eye of the character
- Saboteur (1942) dir. Alfred Hitchcock
- Wind sounds instead of dramatic music
- Sabotage (1936) dir. Alfred Hitchcock
- “Fear comes from knowing that shock is coming”
- The 39 Steps (1935) dir. Alfred Hitchcock
- many close up shots of hands
- Starts with close ups then the establishing shot
- Marnie (1964) dir. Alfred Hitchcock
- cuts to a high angle
- Ninotchka (1939) dir. Ernst Lubitsch
- The Wizard of Oz (1939) dir. Victor Fleming
- goes from no color to color
- Gone with the Wind (1939) (introduced in Episode 2) dir. Victor Fleming