The Following Information is From Wikipedia
The 1980s: Moviemaking and Protest – Around the World.
- The Horse Thief (1988) dir. Tian Zhuangzhuang
- Monks filmed in subtle slow motion
- Yellow Earth (1985) dir. Chen Kaige
- static shots to show the scale of the landscape
- muted yellows and greens
- imagery framed like Chinese paintings
- Raise the Red Lantern (1991) dir. Zhang Yimou
- House of Flying Daggers (2004) dir. Zhang Yimou
- Repentance (1984) dir. Tengiz Abuladze
- creates a sensation
- Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
- static shot of a smiling dead soldier
- Come and See (1985) dir. Elem Klimov
- wide angle lens makes the boy appear to shrink
- Long Goodbyes (1971) dir. Kira Muratova
- mother and son don’t look at each other
- long lenses and hidden camera angles
- filmed in long lense to show how people can suffocate each other
- A Short Film About Killing (1988) dir. Krzysztof Kieślowski
- yellow-green imagery
- hooded shots
- killing scene is 3 minutes and 35 shots
- when the man is sentenced to death, its filmed in the same yellow-green color
- after his death, the light turns white
- Psycho (1960) (introduced in Episode 8) dir. Alfred Hitchcock
- Wend Kuuni (1983) dir. Gaston Kaboré
- flashback inside a flashback
- Yeelen (1987) dir. Souleymane Cissé
- camera tracks around the protagonist
- tilt from foot to head
- Video Killed the Radio Star (1979) (music video) dir. Russell Mulcahy
- screens within screens
- pink light
- fast editing
- stepped cuts
- Flashdance (1983) dir. Adrian Lyne
- Top Gun (1986) dir. Tony Scott
- Blue Velvet (1986) (introduced in Episode 3) dir. David Lynch
- float into the world
- slow motion
- The Elephant Man (1980) dir. David Lynch
- shot tracks into a close up of a distraught doctor
- Do the Right Thing (1989) dir. Spike Lee
- heightened colors to match the boiling tension
- filmed with tilted camera angles to render things off kilter
- The Third Man (1949) dir. Carol Reed (introduced in Episode 5)
- tilted camera shows the imbalance of the world of the story
- Return of the Secaucus 7 (1980) dir. John Sayles
- not edited in a flashy way
- camera observes intelligent conversation
- Subway (1985) dir. Luc Besson
- roller skate chase filmed like a car chase
- wide angle shots to make the space deeper
- Les Amants du Pont-Neuf (1991) dir. Leos Carax
- An American in Paris (1951) dir. Vincente Minnelli (introduced in Episode 5)
- color splashed across the screen
- Labyrinth of Passion (1982) dir. Pedro Almodóvar
- A Hard Day’s Night (1964) (introduced in Episode 8) dir. Richard Lester
- The Quince Tree Sun (1992) dir. Víctor Erice
- no camera moves, natural light and a gentle pace to capture the passing of time and the delicacy of the moment
- My Beautiful Laundrette (1985) dir. Stephen Frears
- high level shot
- My Childhood (1972) dir. Bill Douglas
- Gregory’s Girl (1981) dir. Bill Forsyth
- horizontal camera tilts
- Distant Voices, Still Lives (1988) dir. Terence Davies
- flashback without a cut
- camera tracks to the door, then a slow dissolve
- Intolerance (1916) dir. D. W. Griffith (introduced in Episode 1)
- Young at Heart (1954) dir. Gordon Douglas
- camera glides into a perfect world despite a main character killing themself
- A Zed & Two Noughts (1986) dir. Peter Greenaway
- symmetry taken to a new level
- The Last of England (1988) dir. Derek Jarman
- Videodrome (1983) dir. David Cronenberg
- TV becomes human-like
- Crash (1996) dir. David Cronenberg
- Neighbours (1952) dir. Norman McLaren
- stop frame animation
- Jesus of Montreal (1989) dir. Denys Arcand