1918-1932: The Great Rebel Filmmakers Around the World
- The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
- “Dreamlike”. Soft lighting.
- The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
- A realist film that stripped its actress of her makeup
- Robert and Bertram (1915) dir. Max Mack
- “An inept seducer”. Second challenge to conventional cinema.
- The Oyster Princess (1919) dir. Ernst Lubitsch
- “Shows his mocking subversive tone”
- The Mountain Cat (1921) dir. Ernst Lubitsch
- “A riot of surreal production design”
- The Marriage Circle (1924) dir. Ernst Lubitsch
- Inventively shows sexuality using obejects
- La Roue (1923) dir. Abel Gance
- “A grand work of impressionism”. “The movie screen becomes his inner eye”.
- Napoléon (1927) dir. Abel Gance
- “Makes mane stream romantic cinema look static in comparison.”
- The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
- Most of influential of the expressionist movies
- The Tell-Tale Heart (1928) dir. Charles Klein
- Shows influence from The Cabinet of Dr. Caligari
- The Lodger (1927) dir. Alfred Hitchcock
- Shows Caligari inspired shadowing
- A Page of Madness (1926) dir. Teinosuke Kinugasa
- The film itself is psychotic
- Metropolis (1927) dir. Fritz Lang
- A futuristic New York.
- The Crowd (1928) (introduced in Episode 2) dir. King Vidor
- Draws influence from Metropolis
- Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
- The city becomes nature to a couple who is so in love that they become oblivious to their surroundings
- Opus 1 (1921) dir. Walter Ruttmann
- “One of the first abstract animations”
- Entr’acte (1924) dir. René Clair
- “Put the camera in places where a traditional ballet could only dream of”
- Rien que les heures (1926) dir. Alberto Cavalcanti
- Spellbound (1945) dir. Alfred Hitchcock
- Mimicked the eyes of Rien que les heures
- Un Chien Andalou (1929) dir. Luis Buñuel
- “Wildly innovative way of editing”
- Blue Velvet (1986) dir. David Lynch
- L’Age d’Or (1930) dir. Luis Buñuel
- Kino-Pravda n. 19 (1924) dir. Dziga Vertov
- Depicted Russia’s rapid attempt at shifting to a more modern society.
- Glumov’s Diary (1923) dir. Sergei Eisenstein
- Eisentein’s first film
- Battleship Potemkin (1925) dir. Sergei Eisenstein
- Uses stairs to film rapid scenes
- The Untouchables (1987) dir. Brian De Palma
- Pays homage to Battleship Potemkin‘s step sequence
- Arsenal (1929) dir. Alexander Dovzhenko
- “Set at a complex time in Ukrainian history”. Depicts a war.
- Earth (1930) dir. Alexander Dovzhenko
- Intrigues the audience with the mystery of a dancing man who falls suddenly
- I Was Born, But… (1932) dir. Yasujirō Ozu
- “Perhaps the greatest director to ever live”. “An exquisite, zingy comedy about two boys”.
- Tokyo Story (1953) dir. Yasujirō Ozu
- Features precise camera setup. Put the camera at hip height, giving the image a better sense of balance. Filmed peoples’ conversations at a 90 degree angle rather than at a 45 degree angle.
- Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) dir. Chantal Akerman
- The Record of a Tenement Gentleman (1947) (introduced in Episode 1) dir. Yasujirō Ozu
- Osaka Elegy (1936) dir. Kenji Mizoguchi
- Used bold staging in which the main character was slow moving and in the foreground while there is action in the background
- Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
- Uses staging that is reminiscent of the foreground and background placement of Osaka Elegy
- Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
- Mizoguchi was known as a woman’s director. In this film he featured a woman who had to flee from her abusive husband.
- Mildred Pierce (1945) dir. Michael Curtiz
- Crawford contemplates the fate of suicide similar to the main character of Osaka Elegy
- Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
- Shows the impact of war attacks on China
- Scenes of City Life (1935) dir. Yuan Muzhi
- Leftist, realist cinema that challenged romantic cinema
- The Goddess (1934) dir. Wu Yonggang
- Arguably the birth of realistic acting. Understed movements.
- Center Stage (1991) dir. Stanley Kwan
- Repeats a famous scene from The Goddess
- New Women (1935) dir. Cai Chusheng
- Main character is a real life actor who overdosed and died. The actor playing the character later overdosed and died as well.