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big idea on using reflection/ light and allusion of movement, cut and editing.
The following material is from Wikipedia.
Introduction
- Saving Private Ryan (1998) dir. Steven Spielberg
- graphic portrayal of war
- Three Colors: Blue (1993) dir. Krzysztof Kieślowski
- first to have ideas of liberty, equality and fraternity
- Casablanca (1942) dir. Michael Curtiz
- The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
- pause in story, small squares framing people, classical
- Odd Man Out (1947) dir. Carol Reed
- guys in mess, sees troubles/reflection in bubbles
- Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
- Taxi Driver (1976) dir. Martin Scorsese
- character looking in bubbles to show his reflection/troubles
- The French Connection (1971) dir. William Friedkin
- character racing through city
1895-1918: The World Discovers a New Art Form or Birth of the Cinema
- Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
- The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
- Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
- first film using a projector, wanted to show groups of people
- Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
- audience felt train was coming at them when watching
- Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy
- glamorous war
- Dickson or William Heise
- Sandow (1894) dir. William Kennedy Dickson
- What Happened on Twenty-third Street, New York City (1901) dir. George S. Fleming and Edwin S. Porter
- showing happy and sad
- Cendrillon (1899) dir. Georges Méliès
- made man appear when he wasn’t really there on accident
- Le voyage dans la lune (1902) dir. Georges Méliès
- La lune à un mètre (1898) dir. Georges Méliès
- first special effects director
- The Kiss in the Tunnel (1899) dir. George Albert Smith
- first to film from front of train known as “phantom ride”
- Shoah (1985) dir. Claude Lanzmann
- shots in same train lines on way to gas chambers
- 2001: A Space Odyssey (1968) dir. Stanley Kubrick
- used phantom ride through colored light of cosmos
- The Sick Kitten (1903) dir. George Albert Smith
- showed cat eating in more detail, start of close ups
- October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
- close ups of dead women getting pulled apart that shows tragedy
- Once Upon a Time in the West (1968) dir. Sergio Leone
- close up looking at murderer he’s been searching for his whole life
- The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
- boxing match with 63 millimeters wide lens instead of standard 35 lens
1903-1918: The Thrill Becomes Story or The Hollywood Dream
- Life of an American Fireman (1903) dir. Edwin S. Porter
- street action first then cuts to inside, and back and forth from inside to outside, audience felt concerned
- Sherlock Jr. (1924) dir. Buster Keaton
- 21 years after Life of an American Firearm, used double exposure and cuts
- The Horse that Bolted (1907) dir. Charles Pathé
- uses cuts again, advance 2 stories at once
- The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
- first to have actors turn their backs to audience
- Vivre sa vie (1962) dir. Jean-Luc Godard
- had actor turn back from up close
- Those Awful Hats (1909) dir. D. W. Griffith
- said actor disappeared but showed up in The Mended Lute
- The Mended Lute (1909) dir. D. W. Griffith
- anxious
- The Abyss (1910) dir. Urban Gad
- actors could be more sexual
- Stage Struck (1925) dir. Allan Dwan
- showed faces/thoughts more clearly (star system)?
- The Mysterious X (1914) dir. Benjamin Christensen
- cross cutting and gorgeous photography
- Häxan (1922) dir. Benjamin Christensen
- about witchcraft, multiple light sources
- Ingeborg Holm (1913) dir. Victor Sjöström
- naturalisme anf grace
- The Phantom Carriage (1921) dir. Victor Sjöström
- stories within stories, double exposure to show death/ghostly figures
- Shanghai Express (1932) dir. Josef von Sternberg
- framed in train window, youth and glamour
- The Story of the Kelly Gang (1906) dir. Charles Tait
- first feature length movie, head on framing, outdoors
- The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
- first hollywood feature, eyes meet across cut and he feels her pain (emotion)
- The Empire Strikes Back (1980) dir. Irvin Kershner
- used left screen for one person and right for the other person called 180 rule
- Falling Leaves (1912) dir. Alice Guy-Blaché
- first female director, put stories together using arch
- Suspense (1913) dir. Phillips Smalley and Lois Weber
- innovative, POV shot from above, shows all three people at once, shows police in reflection of mirror, camera position important
- The Wind (1928) dir. Victor Sjöström
- sand everywhere blasts image, fear, cuts like a thriller filmed like a dream
- Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
- painted skyline
- The House with Closed Shutters (1910) dir. D. W. Griffith
- brought wind in trees to film
- Way Down East (1920) dir. D. W. Griffith
- visual softness, the thing that pricks our feelings,
- Orphans of the Storm (1921) dir. D. W. Griffith
- visual softness and back lighting
- The Birth of a Nation (1915) dir. D. W. Griffith
- showed power of cinema and its danger, intimate
- Rebirth of a Nation (2007) dir. DJ Spooky
- took scenes and scribbled on them
- Cabiria (1914) dir. Giovanni Pastrone
- moving dolly shots
- Intolerance (1916) dir. D. W. Griffith
- human intolerance and failure of love, violence scenes were blue, inter cuts, jumped from story line A to B, dolly on a crane
- Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
- two story lines that come together, hope, first great Japanese film