1918-1932: The Great Rebel Filmmakers Around the World

• The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
  • Soft lighting,
  • shallow focus,
  • similar to Germanic magical realism in that it looked like a dream
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
  • realistic
• Robert and Bertram (1915) dir. Max Mack
• The Oyster Princess (1919) dir. Ernst Lubitsch
•  cynical and satirical tone.
• The Mountain Cat (1921) dir. Ernst Lubits ch
  • surreal set design
• The Marriage Circle (1924) dir. Ernst Lubitsch
  • innovative
  • new way of showing love
  • used objects and actions to imply
• La Roue (1923) dir. Abel Gance
  • start of German impressionistic style
• Napoléon (1927) dir. Abel Gance
  • 4 hour impressionist film
  • extremely long
    • dynamic
    • new camera behavior with actors
  • masterpiece
• The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
  • beginning of horror movies
  • lighted scenes with flat light
  • painted shadows to give distinct look
  • used set and light to represent mental state
• The Tell-Tale Heart (1928) dir. Charles Klein
• The Lodger (1927) dir. Alfred Hitchcock
• A Page of Madness (1926) dir. Teinosuke Kinugasa
• Metropolis (1927) dir. Fritz Lang
  • story of workers in an industrial city
  • big budget
  • large set pieces
• The Crowd (1928) (introduced in Episode 2) dir. King Vidor
• Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
  • story of couple so in love and blind
  • “love is blind”
    • walking through traffic
  • huge city set built
  • voted best film of all time by French critics
• Opus 1 (1921) dir. Walter Ruttmann
• one of the first animations
• Entr’acte (1924) dir. René Clair
• Rien que les heures (1926) dir. Alberto Cavalcanti
• Spellbound (1945) dir. Alfred Hitchcock
  • dream sequence
• Un Chien Andalou (1929) dir. Luis Buñuel
  • • new scenes used to evoke shock
    • razor eye cut scene
    • ants into sea urchins
• Blue Velvet (1986) dir. David Lynch
• L’Age d’Or (1930) dir. Luis Buñuel
  • Fascist League of Patriots inked the screen
  • attacked viewers
  • transferring shots
• Kino-Pravda n. 19 (1924) dir. Dziga Vertov
  • ingenuity present movie
• Glumov’s Diary (1923) dir. Sergei Eisenstein
• Battleship Potemkin (1925) dir. Sergei Eisenstein 
• first stair stage for film
  • thought cascading the dead bodies down steps would be impactful
  • shots were short (3 seconds)
  • big hit
• The Untouchables (1987) dir. Brian De Palma
  • Eisenstein
• Arsenal (1929) dir. Alexander Dovzhenko
  • Set in the Ukrainian war
• Earth (1930) dir. Alexander Dovzhenko
• I Was Born, But… (1932) dir. Yasujirō Ozu
  • first film of director
    • came out as dark
  • filmed at a childs height to make things feel large
  • naturalistic performances
• Tokyo Story (1953) dir. Yasujirō Ozu
  • Ozu’s most acclaimed film
  • precise and original rhythm
  • stable camera gives idea of still life
  • Dialogue shots showed ease with actors
• Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
• The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
• innovative
• Osaka Elegy (1936) dir. Kenji Mizoguchi
  • heavy hearted plot
  • very modern design
  • bold
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • similarly staged to Osaka
  • used different spacing
• Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
• Mildred Pierce (1945) dir. Michael Curtiz
• Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
• Scenes of City Life (1935) dir. Yuan Muzhi
  • innovative new camera angles
• The Goddess (1934) dir. Wu Yonggang
• Center Stage (1991) dir. Stanley Kwan
• New Women (1935) dir. Cai Chusheng
  • real life shown through main character
  • more realistic look