Episode 5 – Post-War Cinema
Notes
The Following Material was Taken from Wikipedia
1939-1952: The Devastation of War…And a New Movie Language
- Rome, Open City (1945) dir. Roberto Rossellini
- Hitlers Tyranny created a new cinematic language to deal with the oppressive government
- shot in old style
- old people are glamorized using one light source
- Stagecoach (1939) dir. John Ford
- made a star of John Wayne
- Ford hated analysis
- about a band of misfits
- Directed by John Ford (1971) dir. Peter Bogdanovich
- long lenses make people look good
- Osaka Elegy (1936) (introduced in Episode 3) dir. Kenji Mizoguchi
- deep focus shots allow the audience to choose where to look just like real life
- Flesh and the Devil (1926) dir. Clarence Brown
- Follow the Boys (1944) dir. A. Edward Sutherland
- Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
- uses deep staging which helps focus scale
- deep shots show lonelyness
- Me and Orson Welles (2008) dir. Richard Linklater
- got Orsen welles conversations incorrectly
- Orson revieres his own heroes
- Chimes at Midnight (1965) dir. Orson Welles
- Cabiria (1914) (introduced in Episode 1) dir. Giovanni Pastrone
- used many tracking shots
- Intolerance (1916) (introduced in Episode 1) dir. D. W. Griffith
- The General (1926) (introduced in Episode 2) dir. Clyde Bruckman and Buster Keaton
- was famously expensive
- The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
- The Best Years of Our Lives (1946) dir. William Wyler
- Code Unknown (2000) dir. Michael Haneke
- Sátántangó (1994) dir. Béla Tarr
- How to Marry a Millionaire (1953) dir. Jean Negulesco
- used shallow space and put actors in a line
- Un Homme et une Femme (1966) dir. Claude Lelouch
- Heat (1995) dir. Michael Mann
- Raging Bull (1980) dir. Martin Scorsese
- Bicycle Thieves (1948) dir. Vittorio De Sica
- shot far back as to not intrude
- uses tracking shots to show emotion
- Pin Up Girl (1944) dir. H. Bruce Humberstone
- was one of wartimes most popular stars
- more than 350 dark films shot in hollywood
- Double Indemnity (1944) dir. Billy Wilder
- one of the most famous film noirs
- Portrait of a 66% Perfect Man: Billy Wilder (1982) dir. Annie Tresgot
- Wilder’s films were thematicly dark
- The Testament of Dr. Mabuse (1933) dir. Fritz Lang
- light casts a grid of shadows
- The Big Sleep (1946) dir. Howard Hawks
- a very influential film noir
- Rio Bravo (1959) dir. Howard Hawks
- The Empire Strikes Back (1980) (introduced in Episode 1) dir. Irvin Kershner
- was influenced by film noir
- Out of the Past (1947) dir. Jacques Tourneur
- The Hitch-Hiker (1953) dir. Ida Lupino
- was directed by a woman
- Little Caesar (1931) dir. Mervyn LeRoy
- Le Quai des brumes (1938) (introduced in Episode 4) dir. Marcel Carné
- La Chienne (1931) dir. Jean Renoir
- was influenced by Film Noir
- Scarlet Street (1945) dir. Fritz Lang
- Was influenced by Scarlet Street
- American Cinema: Film Noir (1995) dir. Alain Klarer
- Gun Crazy (1950) dir. Joseph H. Lewis
- one of the most inovative and passionate film noirs
- Bonnie and Clyde (1967) dir. Arthur Penn
- shot that should have taken three days took three hours
- staging looked real
- L.A. Confidential (1997) dir. Curtis Hanson
- was influenced by noir
- Blade Runner (1982) dir. Ridley Scott
- The Dark Knight (2008) dir. Christopher Nolan
- was also influened by film noir
- Siva (1989) dir. Ram Gopal Varma
- Titanic (1997) dir. James Cameron
- the return of romantic cinema
- 71st Academy Awards (1999) dir. Louis J. Horvitz
- used reaction shots to show opinions
- An American in Paris (1951) dir. Vincente Minnelli
- very bright and colorful
- The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
- had painted studio backgrounds
- Singin’ in the Rain (1952) (introduced in Episode 2) dir. Gene Kelly and Stanley Donen
- Gave positive message
- Flying Down to Rio (1933) dir. Thornton Freeland
- Romantic 30s musical
- Gold Diggers of 1933 (1933) (introduced in Episode 2) dir. Mervyn LeRoy
- Indiscreet (1958) dir. Stanley Donen
- hollywood was censored
- married people couldn’t be in the same bed
- had the people in different beds but divided the shot to make it look like they were in bed together
- Two for the Road (1967) dir. Stanley Donen
- about a married couple
- presents a tough look at marriage
- shows the abrasions of marrage
- A Matter of Life and Death (1946) dir. Michael Powell and Emeric Pressburger
- was made in Britain, shows complexities of war
- goes to heaven and argues for more time on earth
- Post Haste (1933) dir. Humphrey Jennings
- Listen to Britain (1942) dir. Humphrey Jennings and Stewart McAllister
- described as a great poem
- The Third Man (1949) dir. Carol Reed
- Jennings felt that there are force fields between shots (They can relate to each other)
- The True Glory (1945) dir. Carol Reed and Garson Kanin
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- Filmed many shots off of the horizontal axis to show the moral imbalance
- has a very long shot of walking
- shows realism
- guy was rejected at the very end