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1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- hollywood worked wonders with light, made documents gleam
- set up production line system
- The Thief of Bagdad (1924) dir. Raoul Walsh
- what he thought Bagdad would look like
- inhuman and scared
- elegant and decorative
- costume designers copied lifestyles
- makeup artists came up with new foundation and other makeup
- stats theme upfront
- soft lighting on actor
- romantic and American
- special effects
- Desire (1936) dir. Frank Borzage
- lights to illuminate hair
- to make eyelashes cast shadows on the face of actor
- Gone with the Wind (1939) dir. Victor Fleming
- fillets to make image glide
- as if real wind
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- dictatorship with genius in it
- fantasy of girls in snow making pattern with their moves increasing their abstract geometric
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- “studio system was garden where we all worked”
- industry was bubble but also a garden
- optimism
- The Maltese Falcon (1941) dir. John Huston
- street wise
- stars were angels with dirty faces
- harder lighting darker shadows
- melodrama
- The Scarlet Empress (1934) dir. Josef von Sternberg
- sparkling costumes
- feminine and romantic
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- fascinated with camera
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- greatest comic image maker cinema had yet to see
- thought like an architect
- house is like play pen
- got that movies are about looking
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- helped define silent cinema
- a cut replaces one space with another
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- overhead shot to make building look really high
- camera position makes him look higher up then he was
- Buster Keaton Rides Again (1965) dir. John Spotton
- inventiveness was highly planned but sometimes spontaneous
- saw train arriving and made it looked like guy stopped and started the train
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- comedy about train during civil war
- eccentric
- repeats visual jokes form first half into second but in reverse order
- called the most stunning visual event arranged for comedy
- sets fire to bridge with train on it for real not just editing
- Divine Intervention (2002) dir. Elia Suleiman
- filmed back further away from action
- finds grumpiness funny
- Limelight (1952) dir. Charlie Chaplin
- shows he was more into body movement then camera angles
- City Lights (1931) dir. Charlie Chaplin
- rehearses comedic movement before filming
- The Kid (1921) dir. Charlie Chaplin
- first feature length picture
- cold mornings warm bedding
- breaks windows so his dad can fix them
- brilliant performance of little boy
- Bad Timing (1980) dir. Nicolas Roeg
- people act cool but their hands suggest twitchy and nervous
- The Great Dictator (1940) dir. Charlie Chaplin
- dictator (hitler) kicking and playing with earth balloon
- good metaphor
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- inspired by chaplin to wear short trousers
- Toto in Color (1953) dir. Steno
- wore chaplains trademark hat and copied manner
- Awaara (1951) dir. Raj Kapoor
- modeled character after chaplins character
- Sunset Boulevard (1950) dir. Billy Wilder
- saw chaplin as his master
- impersonated him
- Some Like It Hot (1959) dir. Billy Wilder
- did a reworked scene from The Great Dictator
- Luke’s Movie Muddle (1916) dir. Hal Roach
- comedian who was influenced by chaplin
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- nerdy look
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- athleticism
- flinty courage
- dreamer, jock nerd
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- ends with one of most famous sequences
- climbed building to show sequence of vertical risk
- things get in his way while climbing
- when he reaches top action reaches crescendo
- and he swoops into arms of his sweetheart
- I Flunked, But… (1930) dir. Yasujirō Ozu
- influenced by dreamer
- confidence and silliness
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- made longest non fiction film so far in story of film
- has beautiful but conventional scenic shots
- focuses on a man and his family
- audience looked more ethically
- The House Is Black (1963) dir. Forough Farrokhzad
- Sans Soleil (1983) dir. Chris Marker
- The Not Dead (2007) dir. Brian Hill
- 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
- Blind Husbands (1919) dir. Erich von Stroheim
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Greed (1924) dir. Erich von Stroheim
- Stroheim in Vienna (1948)
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- The Crowd (1928) dir. King Vidor
- The Apartment (1960) dir. Billy Wilder
- The Trial (1962) dir. Orson Welles
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- Posle Smerti (1915) dir. Yevgeni Bauer
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- Ordet (1955) dir. Carl Theodor Dreyer
- The President (1919) dir. Carl Theodor Dreyer
- Vampyr (1932) dir. Carl Theodor Dreyer
- Gertrud (1964) dir. Carl Theodor Dreyer
- Dogville (2003) dir. Lars von Trier
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard