“River of Dreams” by mripp is licensed under CC BY 2.0
Notes:
- Take notes as you watch the episode
- Access Episode 2 and begin watching
1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- Displayed Hollywood with light
- The Thief of Bagdad (1924) dir. Raoul Walsh
- Had more extravagant backgrounds than before
- Desire (1936) dir. Frank Borzage
- Delicate use of light allowed for the actor’s eyelashes
- Gone with the Wind (1939) dir. Victor Fleming
- Use of a dolly filming technique allowed for a smooth video
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- Incredible amount of lighting to the point where even shadows had light in them
- The Maltese Falcon (1941) dir. John Huston
- Use of sharp shadows, with more night time scenes
- The Scarlet Empress (1934) dir. Josef von Sternberg
- Had costumes on display
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- Had a lot of emphasis on editing, and from what I understand, had quite a few good moments
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- Used some tricks with height to make a building seem very tall
- Buster Keaton Rides Again (1965) dir. John Spotton
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- Notable as all the jokes were repeated backward towards the end of the film
- Divine Intervention (2002) dir. Elia Suleiman
- Deadpan filming
- Limelight (1952) dir. Charlie Chaplin
- Used a lot of body language
- City Lights (1931) dir. Charlie Chaplin
- Practiced just normally before filming it with full costume
- The Kid (1921) dir. Charlie Chaplin
- Chaplin remade his childhood home’s room for this
- Bad Timing (1980) dir. Nicolas Roeg
- The actor’s hands were filmed up close to show the energy in them
- The Great Dictator (1940) dir. Charlie Chaplin
- Chaplin acted like Adolf Hitler, and added comedy
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- Portrayed Chaplin
- Toto in Color (1953) dir. Steno
- Awaara (1951) dir. Raj Kapoor
- Designed character after Chaplin
- Sunset Boulevard (1950) dir. Billy Wilder
- Viewed Chaplin as a true master of his craft
- Some Like It Hot (1959) dir. Billy Wilder
- Wilder’s studio became a center of Hollywood
- Luke’s Movie Muddle (1916) dir. Hal Roach
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- First use of glasses to imply a nerdiness of a character
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- Athleticism
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- The climax of the movie acted as a publicity stunt
- I Flunked, But… (1930) dir. Yasujirō Ozu
- A silly movie
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- The longest nonfiction movie made, it’s focus was on the life of a man and his family
- The House Is Black (1963) dir. Forough Farrokhzad
- Used tracking shots
- Sans Soleil (1983) dir. Chris Marker
- The film used actual places in Japan
- The Not Dead (2007) dir. Brian Hill
- Used a man’s war experiences to make poems
- The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
- No commentary
- The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
- Remade The Perfect Human 5 times, each time with new obstructions
- Blind Husbands (1919) dir. Erich von Stroheim
- Use of realism shattered the illusion of Hollywood
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Greed (1924) dir. Erich von Stroheim
- Portrayed money as a drawable currency, “yellow”. “Yellow” then flooded the world, showing the greed of men and women alike.
- Stroheim in Vienna (1948)
- An incredible focus on realism
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- The Crowd (1928) dir. King Vidor
- Used static shots along with no costumes or set in a bid to be realistic
- The Apartment (1960) dir. Billy Wilder
- Desks were reused many times (not sure why special, but ok)
- The Trial (1962) dir. Orson Welles
- Used smaller desks to make the audience accept it’s perspective
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- Posle Smerti (1915) dir. Yevgeni Bauer
- An open door allows a real looking ray of light on the studying scholar
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- To highlight the idea of just a common girl, they chose an actress who had never acted before, and didn’t use makeup
- Ordet (1955) dir. Carl Theodor Dreyer
- The President (1919) dir. Carl Theodor Dreyer
- Changed images to fit a protestant viewpoint
- Vampyr (1932) dir. Carl Theodor Dreyer
- Gave shadows a life of their own. Pretty cool
- Gertrud (1964) dir. Carl Theodor Dreyer
- Dogville (2003) dir. Lars von Trier
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard