1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
  • shows how Hollywood uses light and expression of light
• The Thief of Bagdad (1924) dir. Raoul Walsh
  • uses fading shots all cut together to reveal to us things like individuality, society, etc.
  • shows themes without hidden objectives and meaning
• Desire (1936) dir. Frank Borzage
• Gone with the Wind (1939) dir. Victor Fleming
  • smooth cinematography makes us feel
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
  • everything is lit to create abstract movement
• The Maltese Falcon (1941) dir. John Huston
  • uses lighting to primarily communicate mood
• The Scarlet Empress (1934) dir. Josef von Sternberg
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
  • Keaton’s love for sally represents love for film
• One Week (1920) dir. Edward F. Cline and Buster Keaton
  • Silent Camera to let the audience observe instead of “live”
• Sherlock, Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
  • camera makes it look a lot higher thus more dangerous and more exciting for the viewer
  • all stunts were done by actors
• Buster Keaton Rides Again (1965) dir. John Spotton
• The General (1926) dir. Clyde Bruckman and Buster Keaton
  • similar to Tarantino style of I know something you don’t know.
• Divine Intervention (2002) dir. Elia Suleiman
  • Used bland boring/ and lamenting for comedy
• Limelight (1952) dir. Charlie Chaplin
  • Body movement for comedy
• City Lights (1931) dir. Charlie Chaplin
  • improvisation
  • deleted scene shows Chaplin’s thought process
  • used a poem
• The Kid (1921) dir. Charlie Chaplin
  • first feature length film for Chaplin
  • film humanized comic cinema
• Bad Timing (1980) dir. Nicolas Roeg
• The Great Dictator (1940) dir. Charlie Chaplin
  • Hitler making the world his toy in a metaphor
  • used balloon for prop
  • ballet and facism
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
• Chaplin inspired
• Toto in Color (1953) dir. Steno
• Awaara (1951) dir. Raj Kapoor
• used Chaplin’s “Robinhood” technique
• Sunset Boulevard (1950) dir. Billy Wilder
• imitated Chaplin
• Some Like It Hot (1959) dir. Billy Wilder
  • imitated Chaplin
• Luke’s Movie Muddle (1916) dir. Hal Roach
• too similar to charlie Chaplin style
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
  • misfit all around kid with glasses to look more “nerdy”
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
  • many obstacles
  • climbs a building and swings into the arms of him love
• I Flunked, But… (1930) dir. Yasujirō Ozu

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
  • extremely succesful and realistic
  • real people, real life
  • documentaries were born
• The House Is Black (1963) dir. Forough Farrokhzad
  •  tracking shots
• Sans Soleil (1983) dir. Chris Marker
  • Real japanese location fake/fictional story
• The Not Dead (2007) dir. Brian Hill
• historically/truth based fiction
• 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
  • remake the movie above 5 times 40 years later
• Blind Husbands (1919) dir. Erich von Stroheim
  • obsessed with realism and filmed square on to make it more real/uncomfortable
  • The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
• Greed (1924) dir. Erich von Stroheim
  • angle used to make the actor weak
  • shows the character’s agony and smallness
• Stroheim in Vienna (1948)
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
• The Crowd (1928) dir. King Vidor
  • romance theme
  • child dies,shot actors realistic
  • pushed realism beyond the usual Hollywood custom
  • pushes out in the end to show people
• The Apartment (1960) dir. Billy Wilder
• used realistic/dramatic elements
• The Trial (1962) dir. Orson Welles
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
• Posle Smerti (1915) dir. Yevgeni Bauer
  • main source light in foreground
  • natural light used for actresses introduction
  • daring and bold lighting
  • used black and white to symbolize life/death
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
  • close up only
  • intense acting
  • set cried
  • no depth
  • historical lines
• Ordet (1955) dir. Carl Theodor Dreyer
  • realistic set
  • lady/white room
• The President (1919) dir. Carl Theodor Dreyer
  • simple and pure
  • filmed in mist
• Vampyr (1932) dir. Carl Theodor Dreyer
• Gertrud (1964) dir. Carl Theodor Dreyer
• used white frequently
• tried to show heaven
• Dogville (2003) dir. Lars von Trier
• counter hollywood classic– tried to offset the norm
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard