Story of Film Episode 2- The Hollywood Dream
from Wikipedia.
Episode 2 – The Hollywood Dream
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