The Following Information is From Wikipedia
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
- Amongst the most sensuous of it’s time
- Allowed actress to look into the camera
- The Seventh Seal (1957) dir. Ingmar Bergman
- shows the evolution in Bergman’s thinking
- Winter Light (1963) dir. Ingmar Bergman
- Conclusion that God is finally dead
- Persona (1966) dir. Ingmar Bergman
- a self-aware medium
- “film didn’t just tell the story, it was the story”
- Pickpocket (1959) dir. Robert Bresson
- 50mm lens, flat lighting, ordinary clothes, no expression on man’s face, not unusual composition
- Au hasard Balthazar (1966) dir. Robert Bresson
- Donkey filmed close up, flat lighting, no expression
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- monocular film (same character in every scene)
- Ratcatcher (1999) dir. Lynne Ramsay
- Monsieur Hulot’s Holiday (1953) (introduced in Episode 2) dir. Jacques Tati
- Mon Oncle (1956) dir. Jacques Tati
- Films old part of town in warm sunlight and modern part of town in flat light
- scene where frame doesn’t move but our eyes do
- Fellini’s Casanova (1976) dir. Federico Fellini
- Nights of Cabiria (1957) dir. Federico Fellini
- changes style throughout the movie
- 8½ (1963) dir. Federico Fellini
- Stardust Memories (1980) dir. Woody Allen
- It appears that the main character is looking at his own life
- Cléo from 5 to 7 (1962) dir. Agnès Varda
- filmed in black and white and color
- Last Year at Marienbad (1961) dir. Alain Resnais
- questions whats real by changing continuity and landscape
- The 400 Blows (1959) dir. François Truffaut
- À bout de souffle (1959) dir. Jean-Luc Godard
- cutting to the same thing
- “to emphasize that this is cinema”
- Life of an American Fireman (1903) (introduced in Episode 1) dir. Edwin S. Porter
- Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
- cuts to show a man’s agitation
- Une femme mariée (1964) dir. Jean-Luc Godard
- American Gigolo (1980) dir. Paul Schrader
- Accattone (1961) dir. Pier Paolo Pasolini
- passionately captured Pasolini’s life experiences
- The Gospel According to St. Matthew (1964) dir. Pier Paolo Pasolini
- The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
- A Fistful of Dollars (1964) dir. Sergio Leone
- innovative visual style
- Foreground and background far apart but both in focus
- Once Upon a Time in the West (1968) (introduced in Episode 1) dir. Sergio Leone
- “Time should be real”
- crane shot as if to show the whole of human history
- Johnny Guitar (1954) (introduced in Episode 6) dir. Nicholas Ray
- Idea of waiting for the future
- Senso (1954) dir. Luchino Visconti
- Large scale
- heart is with the ordinary people
- crane shots used to look down on the aristocrats
- Rocco and His Brothers (1960) dir. Luchino Visconti
- L’eclisse (1962) dir. Michelangelo Antonioni
- people framed unconventionally
- The Passenger (1975) dir. Michelangelo Antonioni
- characters live in spaces so large that the spaces seem to take over
- The Travelling Players (1975) dir. Theodoros Angelopoulos
- The Wheelchair (1960) dir. Marco Ferreri
- What Have I Done to Deserve This? (1984) dir. Pedro Almodóvar
- Viridiana (1961) dir. Luis Buñuel
- Mockery
- I Am Curious (Yellow) (1967) dir. Vilgot Sjöman
- scee cut as if woman is talking to Dr. Martin Luther King jr.
- La Maman et la Putain (1973) dir. Jean Eustache