Episode 3 – The Golden Age of World Cinema
Notes
The Following Material is Copied from Wikipedia.org
1918-1932: The Great Rebel Filmmakers Around the World
- The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
- Soft Light was mainly used in the 20s
- The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
- was very realistic
- Robert and Bertram (1915) dir. Max Mack
- came up with an innovative style
- The Oyster Princess (1919) dir. Ernst Lubitsch
- mocks the tone of movies at the time
- The Mountain Cat (1921) dir. Ernst Lubitsch
- a visually daring film
- A man gives a woman his heart and she eats it
- had a sureal production design
- The Marriage Circle (1924) dir. Ernst Lubitsch
- censorship made directors be creative with how they portrayed romance
- La Roue (1923) dir. Abel Gance
- images that have only one frame give an impression
- Napoléon (1927) dir. Abel Gance
- attached a composer air camera to a horse to capture kinetic energy
- Filmed with three cameras to get a super wide shot
- The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
- very influential german movie after the war.
- had lots of flat light to impressive shadows
- The Tell-Tale Heart (1928) dir. Charles Klein
- Was influenced by previous film
- The Lodger (1927) dir. Alfred Hitchcock
- used shadowing from German films
- A Page of Madness (1926) dir. Teinosuke Kinugasa
- used fast cuts
- the actors go insane during the film
- the editing is psychotic
- Metropolis (1927) dir. Fritz Lang
- Hitler liked this movie?
- The Crowd (1928) (introduced in Episode 2) dir. King Vidor
- was inspired from metropolis
- Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
- cities can be poetic in film as well
- french voted this film as one of the best of all time
- Opus 1 (1921) dir. Walter Ruttmann
- an abstract animation
- Entr’acte (1924) dir. René Clair
- Rien que les heures (1926) dir. Alberto Cavalcanti
- a serial movie. Experimental
- Spellbound (1945) dir. Alfred Hitchcock
- Un Chien Andalou (1929) dir. Luis Buñuel
- An abstract film
- showed how the unconscious mind work
- Blue Velvet (1986) dir. David Lynch
- was influenced by gross imagery in the last one
- L’Age d’Or (1930) dir. Luis Buñuel
- this film was protested for it’s strange editing
- Kino-Pravda n. 19 (1924) dir. Dziga Vertov
- Glumov’s Diary (1923) dir. Sergei Eisenstein
- russia claimed that film was very important
- Battleship Potemkin (1925) dir. Sergei Eisenstein
- had the famous scene with the stroller falling down the stairs
- where battleship shoots citizens
- had a little kid get trampled
- The Untouchables (1987) dir. Brian De Palma
- part was inspired by baby on steps scene
- Arsenal (1929) dir. Alexander Dovzhenko
- had scenes of brutal war
- had visual mysteries
- Earth (1930) dir. Alexander Dovzhenko
- I Was Born, But… (1932) dir. Yasujirō Ozu
- director was a philospher and a drunk
- used low tripods
- Tokyo Story (1953) dir. Yasujirō Ozu
- didn’t believe in heroes
- Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
- used low camera height, a little lower than medium
- The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
- Ozu focused on matching his shows
- Osaka Elegy (1936) dir. Kenji Mizoguchi
- attacked the arrogance of Japanese society
- unlike this film, Ozu doesn’t let his characters break the frame
- Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
- Things going on in the background are less important or cared about
- Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
- shots are from far away in emotional moments, makes audience feel moral indignation
- people act with their bodies not their heads
- Mildred Pierce (1945) dir. Michael Curtiz
- Was inspired by Japanese films where someone almost commented suicide from a bridge
- Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
- Scenes of City Life (1935) dir. Yuan Muzhi
- China created a leftist realist type of film
- The Goddess (1934) dir. Wu Yonggang
- Films reflect how society is at the time
- Center Stage (1991) dir. Stanley Kwan
- New Women (1935) dir. Cai Chusheng
- Actor plays an actor who kills herself
- a modern film for the time
- actual actor died of an overdose