The Following Information is From Wikipedia
1990-1998: The Last Days of Celluloid – Before the Coming of Digital.
- The Apple (1998) dir. Samira Makhmalbaf
- handheld camera
- there weren’t actors, but it was like a self roleplay
- A Moment of Innocence (1996) dir. Mohsen Makhmalbaf
- Panning shot from far away
- he stops the filming in the film
- Where Is the Friend’s Home? (1987) dir. Abbas Kiarostami
- filmed “like a football coach”
- camera on the sidelines
- And Life Goes On (1991) dir. Abbas Kiarostami
- static camera and naturalistic dialogue
- Through the Olive Trees (1994) dir. Abbas Kiarostami
- same actors, still camera but further back
- objective frontal shot
- Days of Being Wild (1990) dir. Wong Kar-wai
- In the Mood for Love (2000) dir. Wong Kar-wai
- Irma Vep (1996) dir. Olivier Assayas
- A City of Sadness (1989) dir. Hou Hsiao-hsien
- long static shots
- in the hospital, the camera angle is the same in every shot
- Tokyo Story (1953) (introduced in Episode 3) dir. Yasujirō Ozu
- frames withing frames, few camera moves
- Vive L’Amour (1994) dir. Tsai Ming-liang
- Tetsuo: The Iron Man (1989) dir. Shinya Tsukamoto
- handheld black and white camera captures the man’s terror
- Videodrome (1983) (introduced in Episode 12) dir. David Cronenberg
- Tetsuo II: Body Hammer (1992) dir. Shinya Tsukamoto
- 43 seconds of one frame images of biology, women and space
- it represents decay in the man’s flickering life
- La Roue (1923) (introduced in Episode 3) dir. Abel Gance
- Ringu (1998) dir. Hideo Nakata
- imagery colored navy blue
- industrial noise and screeching
- The Exorcist (1973) (introduced in Episode 11) dir. William Friedkin
- domestic setting
- sudden violence
- Ugetsu Monogatari (1953) dir. Kenji Mizoguchi
- eerie calm of the ghost
- Audition (1999) (introduced in Episode 4) dir. Takashi Miike
- blankness and minimalism before the terror
- Breaking the Waves (1996) dir. Lars von Trier
- mostly handheld shots
- actors were free to move anywhere
- edited the best moment of each take
- static shot from heaven with heavenly bells
- Homicide: Life on the Street (1993-1999) dir. Tom Fontana
- Dogville (2003) dir. Lars von Trier (introduced in Episode 2)
- no sets, buildings or props
- broken editing rules
- La Haine (1995) dir. Mathieu Kassovitz
- shot in contrasting black and white
- sometimes static camera
- tracks into actors head than cranes over his hair
- Vince filmed in deep space
- Do the Right Thing (1989) (introduced in Episode 12) dir. Spike Lee
- precise framing and heightened color
- Humanité (1999) dir. Bruno Dumont
- static camera
- blank face as if the film has a cold stare
- at the end man is filmed in medium close up, facing away from us, with handcuffs on his hands
- Rosetta (1999) dir. Jean-Pierre Dardenne and Luc Dardenne
- girl runs throughout the film and we follow he with a handheld camera,
- rare shot reverse shot
- Touki Bouki (1973) dir. Djibril Diop Mambéty
- Beau travail (1999) dir. Claire Denis
- beautiful colors
- more interested in choreography than aggression
- fight filmed minimally
- Late Spring (1949) dir. Yasujirō Ozu
- Crows (1994) dir. Dorota Kędzierzawska
- filmmaking kept as simple as possible to get the best natural performances from the young girls
- Wednesday (1997) dir. Victor Kossakovsky
- 24 Realities a Second (2004) dir. Nina Kusturica and Eva Testor
- Code Unknown (2000) (a.k.a. Code inconnu) (introduced in Episode 5) dir. Michael Haneke
- one of the first shots lasts over 11 minutes
- camera moves complexly
- long shots cut to black between scenes
- Funny Games (1997) dir. Michael Haneke
- two boys calmly terrorize a family
- one boy presses rewind on a remote and it rewinds the film
- Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
- the film melts at the end