The Following is From Wikipedia
1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- Worked well with light using beams
- The Thief of Bagdad (1924) dir. Raoul Walsh
- states it’s theme upfront
- soft lighting, shallow focus
- Desire (1936) dir. Frank Borzage
- light to eliminate hair and make eyelashes cast shadows
- Gone with the Wind (1939) dir. Victor Fleming
- Dollys to make the image glide
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- Well choreographed scene
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- Even shadows had lights
- The Maltese Falcon (1941) dir. John Huston
- Sharp lighting
- night time settings
- Shadow on the net
- The Scarlet Empress (1934) dir. Josef von Sternberg
- Sparkly and stylish
- Feminine and romantic
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- Shows real life fascination through the movie
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- Overhead shot to show height
- filmed on top of an arch without showing the bottom to create the illusion of height
- Filmed an actual train crashing off a bridge
- Buster Keaton Rides Again (1965) dir. John Spotton
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- Each visual joke in the first half is repeated and amplified in the second half in reverse order
- Divine Intervention (2002) dir. Elia Suleiman
- filmed in Deadpan, away from the action
- Limelight (1952) dir. Charlie Chaplin
- less into camera movement and more into body movement
- City Lights (1931) dir. Charlie Chaplin
- Deleted scene shows how is mind works
- The Kid (1921) dir. Charlie Chaplin
- Chaplin’s childhood in his movies
- Humanized comedy cinema
- Bad Timing (1980) dir. Nicolas Roeg
- Hands filmed in close up to show internal energy
- The Great Dictator (1940) dir. Charlie Chaplin
- Hitler “makes the world his toy” by kicking the balloon
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- Toto in Color (1953) dir. Steno
- Awaara (1951) dir. Raj Kapoor
- Sunset Boulevard (1950) dir. Billy Wilder
- Some Like It Hot (1959) dir. Billy Wilder
- Luke’s Movie Muddle (1916) dir. Hal Roach
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- influenced by Chaplin which developed into a “nerdy jock”
- I Flunked, But… (1930) dir. Yasujirō Ozu
- Influenced by Lloyd’s boyish confidence
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- long and large scenery shots, then it focuses on the Nanook
- Didn’t use actors
- The House Is Black (1963) dir. Forough Farrokhzad
- large use of tracking shots
- Sans Soleil (1983) dir. Chris Marker
- filmed real places in japan and then wrote a story
- The Not Dead (2007) dir. Brian Hill
- Turned real stories and words into poems
- The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
- The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
- Blind Husbands (1919) dir. Erich von Stroheim
- Filmed square on, looming out of the dark
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Greed (1924) dir. Erich von Stroheim
- Yellow is a common theme in the film
- Stroheim in Vienna (1948)
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- The Crowd (1928) dir. King Vidor
- greatest pre Wallstreet crash picture
- Tried to portray a realistic 1920s
- Filmed the main actress in a static, semi-long shot upon realization of he daughter’s death
- Casted an unknown actor
- First film to use New York extensively
- Used an overhead studio crane shot to show a large scale
- 7 endings
- The Apartment (1960) dir. Billy Wilder
- The Trial (1962) dir. Orson Welles
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- Played with the “rebellious” idea of filming cities
- Posle Smerti (1915) dir. Yevgeni Bauer
- Use of an open door to create a slit on screen
- A source light is in the main shot
- As the scholar waits for an actress, she arrives in the background
- Filmed in natural light
- Dead actress stands in harsh light
- The difference between night time blue and black and white show what the scholar sees
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- Joan filmed in only close ups
- Filming done in silence
- Ordet (1955) dir. Carl Theodor Dreyer
- only accepted things directly related to the story
- Woman comes to life in a white undecorated room
- The President (1919) dir. Carl Theodor Dreyer
- Vampyr (1932) dir. Carl Theodor Dreyer
- Features shadows against a white wall
- large use of white
- Gertrud (1964) dir. Carl Theodor Dreyer
- Films actress through a white scrim, as if she’s in heaven
- Dogville (2003) dir. Lars von Trier
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard