The Following Information is From Wikipedia
1970s and Onwards: Innovation in Popular Culture – Around the World.
- The Kingdom and the Beauty (1959) dir. Li Han-hsiang
- feminine, light, colorful, set, musical
- A Touch of Zen (1971) dir. King Hu
- wider screen, more aggressive, faster
- graceful
- as if every move was designed
- starts as action then turns into a ghost story
- Enter the Dragon (1973) dir. Robert Clouse
- Little cuts during fight scenes
- steady imagery
- A Better Tomorrow (1986) dir. John Woo
- shootouts filmed with multiple cameras, some tracking, and in slow motion
- Iron Monkey (1993) dir. Yuen Woo-ping
- fight scene had fast cuts and multiple angles
- well choreographed fight scenes
- characters were spun in the air
- The Matrix (1999) dir. Lilly Wachowski & Lana Wachowski
- fast punches, low gravity,
- Once Upon a Time in China (1991) dir. Tsui Hark
- simple scene staged and filmed like a gunfight
- New Dragon Gate Inn (1992) dir. Raymond Lee
- Mughal-e-Azam (1960) dir. K. Asif
- sparkling scene with mirrored sets
- Devi (1960) (introduced in Episode 6) dir. Satyajit Ray
- emotion shown through small head movements
- Mausam (1975) dir. Gulzar
- Zanjeer (1973) dir. Prakash Mehra
- zooms and close ups
- Sholay (1975) dir. Ramesh Sippy
- at the dramatic core of the film, a family is gunned down shot with freeze frames and slow motion
- large shifts in tone
- The Message: The Story of Islam (1976) (a.k.a. Mohammad, Messenger of God) dir. Moustapha Akkad
- no reverse shot, instead the camera walks to the man
- The Making of an Epic: Mohammad, Messenger of God (1976) dir. Geoffrey Helman & Christopher Penfold
- The Sparrow (1972) dir. Youssef Chahine
- films actors watching the tv, dollies in to capture the emotion
- The Exorcist (1973) dir. William Friedkin
- handheld wide angle shot captures the fear
- traditional techniques
- A Guy Named Joe (1943) dir. Victor Fleming
- soft black and white
- Jaws (1975) dir. Steven Spielberg
- three different characters filmed together
- dollies in while zooming out
- people walk in front of the camera to create wipes
- The Making of Steven Spielberg’s Jaws (1995) dir. Laurent Bouzereau
- Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
- Close Encounters of the Third Kind (1977) dir. Steven Spielberg
- “awe shot”: wide angle lens, dollies in on people looking at something in awe.
- doesn’t cut to what they’re seeing but instead follows them
- Jurassic Park (1993) dir. Steven Spielberg
- awe shot
- the camera rises as the music does
- Star Wars (1977) (introduced in Episode 1) dir. George Lucas
- ships filmed in wide angle to look enormus
- camera plunges forward
- fast cuts
- The Hidden Fortress (1958) dir. Akira Kurosawa
- soft edge screen wipes
- Triumph of the Will (1935) (a.k.a. Triumph des Willens) (introduced in Episode 4) dir. Leni Riefenstahl