Notes
The following material is from Wikipedia.
1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- Shows Holywood using light
- The Thief of Bagdad (1924) dir. Raoul Walsh
- Used extravagant buildings to show decorative backgrounds
- Desire (1936) dir. Frank Borzage
- Used light to have eyelashes cast shadows
- Gone with the Wind (1939) dir. Victor Fleming
- Used dollys to make image glide like wind
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- Used patterns in moves in the music for geometric looks
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- Even the shadows have light in them
- The Maltese Falcon (1941) dir. John Huston
- Stars were angles with dirty faces. Sharper shadows, nighttime settings
- The Scarlet Empress (1934) dir. Josef von Sternberg
- Costumes on display. Feminine.
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- Shows fascination with camers
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- Thought like an architect. House becomes play pen
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- Understood editing. Understood movies were about looking
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- Showed overhead shot to make building look high.
- Buster Keaton Rides Again (1965) dir. John Spotton
- Improvised to make it look like he stopped train
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- obsessed with detail. Every visual joke is repeated backward in the second half of the movie
- Divine Intervention (2002) dir. Elia Suleiman
- Filmed in deadpan.
- Limelight (1952) dir. Charlie Chaplin
- More into body movement.
- City Lights (1931) dir. Charlie Chaplin
- Rehearsed before filing in costume.
- The Kid (1921) dir. Charlie Chaplin
- Recreated room and relationship of Chaplin’s childhood.
- Bad Timing (1980) dir. Nicolas Roeg
- Hands filmed in close up to show energy
- The Great Dictator (1940) dir. Charlie Chaplin
- Acted as Hitler. Used politics, entertainment, movement.
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- Acted as Chaplin
- Toto in Color (1953) dir. Steno
- Wore Chaplin’s hat
- Awaara (1951) dir. Raj Kapoor
- Modeled character as Chaplin
- Sunset Boulevard (1950) dir. Billy Wilder
- Saw Chaplin as master.
- Some Like It Hot (1959) dir. Billy Wilder
- Studio became a foundation of Hollywood
- Luke’s Movie Muddle (1916) dir. Hal Roach
- Acted with parts of Chaplin
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- used glasses to give a nerdy look
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- Showed athleticism
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- The climax of the film acted as publicity
- I Flunked, But… (1930) dir. Yasujirō Ozu
- Showed silliness
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- Made the longest nonfiction film. Focused on a man and his family.
- The House Is Black (1963) dir. Forough Farrokhzad
- Used tracking shots to show people with leperacy.
- Sans Soleil (1983) dir. Chris Marker
- Filmed real places in Japan. Imagined words on nonfiction pictures.
- The Not Dead (2007) dir. Brian Hill
- Turned words into poems to make memories magical.
- 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
- Remade The Perfect Human 5 times.
- Blind Husbands (1919) dir. Erich von Stroheim
- Used realism to undermine Hollywood fantasy
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Showed actress how to comb hair
- Greed (1924) dir. Erich von Stroheim
- showed money as hand-drawn yellow. Yellow then floods the whole world.
- Stroheim in Vienna (1948)
- Ultra realism.
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- Shows character watching an old movie she was in
- The Crowd (1928) dir. King Vidor
- Tried to use more realism. In a static shot. No fancy clothes or set.
- The Apartment (1960) dir. Billy Wilder
- Used many of the same desks. Showed character in the middle of the screen
- The Trial (1962) dir. Orson Welles
- Used smaller desks to force perspective.
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- Rebellious idea of realism. From mars showing angles and costume.
- Posle Smerti (1915) dir. Yevgeni Bauer
- Scholar studies in the room. Open door makes slit on screen. natural light.
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- Girl accused of witch craft. Actress had never been in film before. wore almost no makeup and hair was cropped. Filmed her in close up.
- Ordet (1955) dir. Carl Theodor Dreyer
- Only accepting things directly related to story.
- The President (1919) dir. Carl Theodor Dreyer
- Simplified and purified images in a protestant way
- Vampyr (1932) dir. Carl Theodor Dreyer
- Features shadows against a white wall. The shadows have a life of their own.
- Gertrud (1964) dir. Carl Theodor Dreyer
- woman believes in the power of love. Filmed in white screen.
- Dogville (2003) dir. Lars von Trier
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
- Lover and muse go to the cinema for the film.