Notes

The following material is copied from Wikipedia: 

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
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
• Robert and Bertram (1915) dir. Max Mack
  • Ernst Lubitsch acted
• The Oyster Princess (1919) dir. Ernst Lubitsch
• The Mountain Cat (1921) dir. Ernst Lubitsch
  • Screen masking
• The Marriage Circle (1924) dir. Ernst Lubitsch
  • Hugely successful
  • Objects as symbols
• La Roue (1923) dir. Abel Gance
  • Fast cuts building tension
• Napoléon (1927) dir. Abel Gance
  • Described the man
  • Tracking shots attached to a horse
  • Filmed with three camera
• The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
  • Fear
  • Shadows
  • Political edge to the story
  • Jagged lighting showed the mental state
• The Tell-Tale Heart (1928) dir. Charles Klein
• The Lodger (1927) dir. Alfred Hitchcock
• A Page of Madness (1926) dir. Teinosuke Kinugasa
  • Fast cutting
  • Visual overlays
• Metropolis (1927) dir. Fritz Lang
  • Deep structure of the society
• The Crowd (1928) (introduced in Episode 2) dir. King Vidor
  • Echoes of the film Metropolis
• Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
  • Joy becomes tragedy
  • Gigantic set
  • “Best film of all time”
• Opus 1 (1921) dir. Walter Ruttmann
  • Abstract animations
    • One of the first
• Entr’acte (1924) dir. René Clair
  • Camera in unique places
• Rien que les heures (1926) dir. Alberto Cavalcanti
  • Haunting experiment
• Spellbound (1945) dir. Alfred Hitchcock
• Un Chien Andalou (1929) dir. Luis Buñuel
• Blue Velvet (1986) dir. David Lynch
• L’Age d’Or (1930) dir. Luis Buñuel
  • Cuts in the film to describe what the man is visualizing
• Kino-Pravda n. 19 (1924) dir. Dziga Vertov
• Glumov’s Diary (1923) dir. Sergei Eisenstein
• Battleship Potemkin (1925) dir. Sergei Eisenstein
  • Huge caption
  • Shots averaging 3 seconds
  • Strange shots
  • A scene full of tension
  • Emotions come from the screen to us
• The Untouchables (1987) dir. Brian De Palma
  • Shots only a few seconds
• Arsenal (1929) dir. Alexander Dovzhenko
  • Song of the war in their heads
  • Deep feelings
• Earth (1930) dir. Alexander Dovzhenko
  • Strange
  • Creates a question
• I Was Born, But… (1932) dir. Yasujirō Ozu
  • Comedy but came out dark
  • Silent film
  • Ironic
• Tokyo Story (1953) dir. Yasujirō Ozu
  • Most acclaimed film
  • The camera was in a low angle
  • Feels the order of space
• Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
  • Used Ozu’s camera height
• The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
  • Pauses in the film
  • Compositional purpose
• Osaka Elegy (1936) dir. Kenji Mizoguchi
  • Story was personal
  • Boldness of staging
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • Also used staging of characters
• Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
  • Act with your body rather than your head
  • Fundamentals of acting
• Mildred Pierce (1945) dir. Michael Curtiz
  • Contemplating decisions
• Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
• Scenes of City Life (1935) dir. Yuan Muzhi
  • Symbolism
• The Goddess (1934) dir. Wu Yonggang
  • Reflect on how society was
  • Body language
• Center Stage (1991) dir. Stanley Kwan
• New Women (1935) dir. Cai Chusheng
  • “Most spectacular funeral of the century”