Story of Film-Episode 2 – The Hollywood Dream
Notes
The Following Material is Copied from Wikipedia
1918-1928: The Triumph of American Film…
- Citizen Kane (1941) dir. Orson Welles
- Filmed indoors to use lighting to tell story
- In movie Barn?
- The Thief of Bagdad (1924) dir. Raoul Walsh
- Costume design helped configure lifestyles
- states theme upfront
- has a romantic and american style
- Classical Romantic movie makes the audience identify with the character
- Desire (1936) dir. Frank Borzage
- Gone with the Wind (1939) dir. Victor Fleming
- Uses a dolly shot to tell the story
- Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
- Hollywood was a dictator ship but also genius?
- Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
- The Maltese Falcon (1941) dir. John Huston
- The Scarlet Empress (1934) dir. Josef von Sternberg
- Style became prominent in film
- The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
- Shows camera on the screen
- One Week (1920) dir. Edward F. Cline and Buster Keaton
- Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
- Keaton helped define silent films
- Three Ages (1923) dir. Buster Keaton and Edward F. Cline
- Films are brilliant at dare deviling
- Buster Keaton Rides Again (1965) dir. John Spotton
- His inventiveness was sometimes spontaneous
- Destroyed a train and bridge for a film
- The General (1926) dir. Clyde Bruckman and Buster Keaton
- Divine Intervention (2002) dir. Elia Suleiman
- was influenced by Keaton
- Limelight (1952) dir. Charlie Chaplin
- City Lights (1931) dir. Charlie Chaplin
- great at visual comedy
- He was a believer in improvisation
- The Kid (1921) dir. Charlie Chaplin
- Film huminized comic cinema
- Bad Timing (1980) dir. Nicolas Roeg
- Tried to show the unconcious lives of their characters
- The Great Dictator (1940) dir. Charlie Chaplin
- used metaphors for stories
- Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
- Toto in Color (1953) dir. Steno
- Awaara (1951) dir. Raj Kapoor
- was inspired by chaplin
- Sunset Boulevard (1950) dir. Billy Wilder
- director saw chaplin as his master
- Some Like It Hot (1959) dir. Billy Wilder
- part of it was also inpired with Chaplin
- Luke’s Movie Muddle (1916) dir. Hal Roach
- Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
- character was a jock nerd
- Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
- Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
- character crawls up a building, a vertical obstetrical course
- I Flunked, But… (1930) dir. Yasujirō Ozu
- characters take emotional inspiration from the other silent films
- reality can break fantasy
…And the First of its Rebels
- Nanook of the North (1922) dir. Robert Flaherty
- The longest nonfiction film at the time
- made documentary a viable genre
- The House Is Black (1963) dir. Forough Farrokhzad
- used beautiful tracking shots
- Sans Soleil (1983) dir. Chris Marker
- Filmed real places in Japan then made up a fake story with fake letters in documentary style
- The Not Dead (2007) dir. Brian Hill
- made memories into poems for a documentary
- The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
- This film was remade five times
- The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
- Blind Husbands (1919) dir. Erich von Stroheim
- uses dark lighting to show evil
- Stronheim was a poet and an artist
- The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
- Greed (1924) dir. Erich von Stroheim
- uses yellow in the film, to show money and greed
- Stroheim in Vienna (1948)
- people hated his ultra realism
- cried at one of his own cut films
- Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
- shows movie star watching one of her own movies
- The Crowd (1928) dir. King Vidor
- tried to show early twenties with ultra realism
- first movie to show new york as a main location
- their were seven endings to this film
- focused on the every-man
- The Apartment (1960) dir. Billy Wilder
- filmed leading actress in static shot to show realism
- The Trial (1962) dir. Orson Welles
- cranes upwards to force a perspective of realism
- Aelita: Queen of Mars (1924) dir. Yakov Protazanov
- had realism yet a fantasy story
- alien wants to go to earth
- Posle Smerti (1915) dir. Yevgeni Bauer
- has a source light in the center of a shot
- used natural light
- uses intense light in dreams
- changes light to show ghosts
- The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
- main character wore no makeup, filmed only in closeup
- showed realism
- electricians cried on set
- used the same dialogue as the actual trial
- Ordet (1955) dir. Carl Theodor Dreyer
- made actors set up the set so they would feel natural in it
- The President (1919) dir. Carl Theodor Dreyer
- purifies his images in a protestant way
- Vampyr (1932) dir. Carl Theodor Dreyer
- uses shadows against a white wall that have lives of their own
- Gertrud (1964) dir. Carl Theodor Dreyer
- dryer used whiteness often in his films
- white = pure?
- films white screen to show heavenly qualities
- Dogville (2003) dir. Lars von Trier
- has no set at all
- oppsite of romance
- Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
- actor goes to the cinema and sees the Joan of Arc