Information taken from Wikipedia

1957-1964: The Shock of the New – Modern Filmmaking in Western Europe.

• Workers Leaving the Lumière Factory (1895) (introduced in Episode 1) dir. Louis Lumière
• Summer with Monika (1953) dir. Ingmar Bergman
  • was among one of the most sensuous films of its time
• The Seventh Seal (1957) dir. Ingmar Bergman
  • this film falls in line with the dark times that it was made in by setting it in the middle ages
• Winter Light (1963) dir. Ingmar Bergman
  • in this film, Bergman concludes that god is finally dead
  • and death would spread through Bergman’s cinema like a cancer
• Persona (1966) dir. Ingmar Bergman
  • this film was Bergman’s way of confessing his guilt of how he treated his wife
• Pickpocket (1959) dir. Robert Bresson
  • Rober Bresson thought of life as a prison that we have to escape and reflected it in his films.
  • he also thought one does not create by giving but instead by taking away
  • at the end of the film the character finds grace the same thing Bresson sought to find through film
• Au hasard Balthazar (1966) dir. Robert Bresson
  • Robert Bresson rejected gloss and expressionism
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
  • this film doesn’t let you see anything outside the assistance of the main character
• Ratcatcher (1999) dir. Lynne Ramsay
  • this film is attached to objects and the physical world
• Monsieur Hulot’s Holiday (1953) (introduced in Episode 2) dir. Jacques Tati
• Mon Oncle (1956) dir. Jacques Tati
  • this film shows Jacques feelings about modern life and describes it as pretentious
• Fellini’s Casanova (1976) dir. Federico Fellini
• Nights of Cabiria (1957) dir. Federico Fellini
  • in previous films by Fellini god was missing but in this one, god is long gone
• 8½ (1963) dir. Federico Fellini
  • there was no script in this film everything was decided last minute
• Stardust Memories (1980) dir. Woody Allen
  • in this film, the main character seems to have stepped out of his own life
• Cléo from 5 to 7 (1962) dir. Agnès Varda
  • this film captures the feeling of drifting from place to place and is hot in color as well as black and white
• Last Year at Marienbad (1961) dir. Alain Resnais
  • this film is meant to question what was real and often shifts to imagery to show someone misremembering
  • no previous film has been so much about uncertainty
• The 400 Blows (1959) dir. François Truffaut
  • this film wanted to highlight the feeling of being alive
• À bout de souffle (1959) dir. Jean-Luc Godard
  • Jean-Luc Godard said the film was about men wondering about mortality
  • the director used cuts to show different things from another angle and set of lighting
    • a shot is represented as a thought of a director
• Life of an American Fireman (1903) (introduced in Episode 1) dir. Edwin S. Porter
• Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
• Une femme mariée (1964) dir. Jean-Luc Godard
• American Gigolo (1980) dir. Paul Schrader
• Accattone (1961) dir. Pier Paolo Pasolini
  • this film passionately captured Pasolines life experiences
• The Gospel According to St. Matthew (1964) dir. Pier Paolo Pasolini
  • the film challenged otherworldly views and prefers simplistic and down to earth representations of historical figures
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
• A Fistful of Dollars (1964) dir. Sergio Leone
  • this film was meant to resist the more common comedy of the day and age in favor of the western which had started to go out of style of in America
• Once Upon a Time in the West (1968) (introduced in Episode 1) dir. Sergio Leone
  • this film took innovations of the day and applied them to an old screenplay
  • Leone thought time in cinema should be real like in life
• Johnny Guitar (1954) (introduced in Episode 6) dir. Nicholas Ray
  • this films idea of waiting for the real world was brought into Once Upon a Time in the West
• Senso (1954) dir. Luchino Visconti
  • `this films conflict was more elemental than any previous western
• Rocco and His Brothers (1960) dir. Luchino Visconti
• L’eclisse (1962) dir. Michelangelo Antonioni
  • Antonioni filmed his people unconventionally usually placing them at the edge of the frame only partially appearing
• The Passenger (1975) dir. Michelangelo Antonioni
  • the spaces in this film seem to take over the film
  • Antonioni’s character spiral out of the film instead of into it
• The Travelling Players (1975) dir. Theodoros Angelopoulos
  • some of the shots in this film are as much about the environment as it is about the characters
• The Wheelchair (1960) dir. Marco Ferreri
  • what was new in this film was the edgy tones
• What Have I Done to Deserve This? (1984) dir. Pedro Almodóvar
• Viridiana (1961) dir. Luis Buñuel
  • this film became the most banned film ever
• I Am Curious (Yellow) (1967) dir. Vilgot Sjöman
• La Maman et la Putain (1973) dir. Jean Eustache

Information taken from Wikipedia

1953-1957: The Swollen Story: World Cinema Bursting at the Seams

• Rebel Without a Cause (1955) dir. Nicholas Ray
  • this film was an example of one of the key energies of the ’50s which was emotion bursting at the seems
• Cairo Station (1958) dir. Youssef Chahine
  • this film was the first time Africa played a significant part in the story of film
  • the best films of the ’50s were about social justice
• Paper Flowers (1959) dir. Guru Dutt
  • the director of this film was described as countries Orson wells
  • the lighting used in this film was the opposite of Hollywood light
• Raja Harishchandra (1913) dir. Dadasaheb Phalke
  • like most early Indian films this movie was about what they called a saint or mythological
• Sant Tukaram (1936) dir. Vishnupant Govind Damle and Sheikh Fattelal
  • this film is called a social or a film that challenged the cast system and poverty
• Pather Panchali (1955) dir. Satyajit Ray
  • the imagery of this film was described as having texture. luster and tenderness
  • what made this film real was that we were seeing an actual Indian village in film for the first time
• Devi (1960) dir. Satyajit Ray
  • the director made sure that he had absolute control in every shot of the film
• Mother India (1957) dir. Mehboob Khan
  • this film used different colors to represent the different realities of the film
• Two Stage Sisters (1964) dir. Xie Jin
  • the film was accused of cinematic Confucianism
• Ikiru (1952) dir. Akira Kurosawa
  • most films from this director where about the emerging individual
• Stray Dog (1949) dir. Akira Kurosawa
  • was a metaphor for the act of continuing to try until you succeed
• Seven Samurai (1954) (introduced in Episode 4) dir. Akira Kurosawa
• Throne of Blood (1957) dir. Akira Kurosawa
• The Godfather (1972) dir. Francis Ford Coppola
  • scenes in this film were influenced by films from Kurosawa
• The Magnificent Seven (1960) dir. John Sturges
• Limite (1931) (introduced in Episode 4) dir. Mário Peixoto
  • used camera movement to express liberty
• Rio 40 Graus (a.k.a. Rio 100 Degrees F.) (1955) dir. Nelson Pereira dos Santos
  • director of this film was influenced by neo film making
• The Life of General Villa (1914) dir. Christy Cabanne
• Doña Bárbara (1943) dir. Fernando de Fuentes and Miguel M. Delgado
  • director of this film practically invented national Mexican cinema
• The Wild Bunch (1969) dir. Sam Peckinpah
• La perla (1947) dir. Emilio Fernández
  • these films showed that life was doomed to fail
• Los Olvidados (1950) dir. Luis Buñuel
• All That Heaven Allows (1955) dir. Douglas Sirk
  • uses darker lighting to show a more moody setting
  • film used gloss to attack gloss
• I’m a Stranger Here Myself (1975) dir. David Helpern
• Johnny Guitar (1954) dir. Nicholas Ray
• Fireworks (1947) dir. Kenneth Anger
• Scorpio Rising (1964) dir. Kenneth Anger
• Marty (television show) (1953) dir. Delbert Mann
  • this show lead to more character-based films
• Marty (1955) dir. Delbert Mann
• On the Waterfront (1954) dir. Elia Kazan
  • the film shows what happens when the anger of people is long-suppressed
• Red River (1948) dir. Howard Hawks and Arthur Rosson
  • in  this film old and new cinema faced off
• Touch of Evil (1958) dir. Orson Welles
• The Searchers (1956) dir. John Ford
  • this film and touch of evil were about a lonely man obsessed with a women
• Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
• Rio Bravo (1959) (introduced in Episode 5) dir. Howard Hawks
• Great Expectations (1946) dir. David Lean
• Lawrence of Arabia (1962) dir. David Lean
• O Dreamland (1953) dir. Lindsay Anderson
• Battleship Potemkin (1925) (introduced in Episode 3) dir. Sergei Eisenstein
• …And God Created Woman (1956) dir. Roger Vadim

Information taken from Wikipedia

Episode 5 – Post-War Cinema

• Rome Open City (1945) dir. Roberto Rossellini
  • was one of neo realisms most famous moments
• Stagecoach (1939) dir. John Ford
  • John Ford hated the analysis of film
  • Fords view of the west got increasingly sad and depressing as time went on
  • Ford thought that it was the little man that had the most guts and courage
  • Stagecoach help set a new visual fashion for film in the 40s
• Osaka Elegy (1936) dir. Kenji Mizoguchi
• Flesh and the Devil (1926) dir. Clarence Brown
  • deep focus uses a wide lens allowing objects to be really close to the camera
  • deep focus was suggested as an alternative to editing since our eyes do the editing for us
• Follow the Boys (1944) dir. A. Edward Sutherland
  • Orson wells saw Stagecoach 30 times
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
  • Welles like to push deep staging as far as it could go
  • Citizen Kane challenged the romantic look of cinema at the time
• Me and Orson Welles (2008) dir. Richard Linklater
• Chimes at Midnight (1965) dir. Orson Welles
  • Welles often looked to the past to times before democracy
  • the space in Welles films was gigantic because his persona was gigantic
• Cabiria (1914) (introduced in Episode 1) dir. Giovanni Pastrone
• Intolerance (1916) (introduced in Episode 1) dir. D. W. Griffith
• The General (1926) (introduced in Episode 2) dir. Clyde Bruckman and Buster Keaton
• The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
  • Welles use of deep focus influenced films like The
• The Best Years of Our Lives (1946) dir. William Wyler
  • deep focus is used in this film to force the audience to wonder what is happening in the far background
• Code Unknown (2000) dir. Michael Haneke
• Sátántangó (1994) dir. Béla Tarr
• How to Marry a Millionaire (1953) dir. Jean Negulesco
  • during this time deep staging became less popular in America cinema
• Un Homme et une Femme (1966) dir. Claude Lelouch
  • long lenses in the 60s excited directors about shallow focus
• Heat (1995) dir. Michael Mann
• Raging Bull (1980) dir. Martin Scorsese
  • Scorsese took inspiration from the bare lightbulb in this film
• Bicycle Thieves (1948) dir. Vittorio De Sica
  • films like this were meant to show the boring parts of life
  • in neorealism events just happened without cause and effect
• Pin Up Girl (1944) dir. H. Bruce Humberstone
• Double Indemnity (1944) dir. Billy Wilder
  • was one of the earliest and most influential film noir stories
• Portrait of a 66% Perfect Man: Billy Wilder (1982) dir. Annie Tresgot
• The Testament of Dr. Mabuse (1933) dir. Fritz Lang
• The Big Sleep (1946) dir. Howard Hawks
  • this films complex plot set a new fashion for film noir
• Rio Bravo (1959) dir. Howard Hawks
• The Empire Strikes Back (1980) (introduced in Episode 1) dir. Irvin Kershner
• Out of the Past (1947) dir. Jacques Tourneur
• The Hitch-Hiker (1953) dir. Ida Lupino
  • was the only film noir to be 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
• Scarlet Street (1945) dir. Fritz Lang
• American Cinema: Film Noir (1995) dir. Alain Klarer
• Gun Crazy (1950) dir. Joseph H. Lewis
• Bonnie and Clyde (1967) dir. Arthur Penn
  • was inspired by the film noir Gun Crazy
• L.A. Confidential (1997) dir. Curtis Hanson
  • despite being dead for a while at this point film noir had a massive influence on this film
• Blade Runner (1982) dir. Ridley Scott
• The Dark Knight (2008) dir. Christopher Nolan
• Siva (1989) dir. Ram Gopal Varma
• Titanic (1997) dir. James Cameron
• 71st Academy Awards (1999) dir. Louis J. Horvitz
• An American in Paris (1951) dir. Vincente Minnelli
  • this film wanted to show that the studio still had some joy despite the state of the industry
• The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
• Singin’ in the Rain (1952) (introduced in Episode 2) dir. Gene Kelly and Stanley Donen
• Flying Down to Rio (1933) dir. Thornton Freeland
• Gold Diggers of 1933 (1933) (introduced in Episode 2) dir. Mervyn LeRoy
• Indiscreet (1958) dir. Stanley Donen
• Two for the Road (1967) dir. Stanley Donen
• A Matter of Life and Death (1946) dir. Michael Powell and Emeric Pressburger
• Post Haste (1933) dir. Humphrey Jennings
• Listen to Britain (1942) dir. Humphrey Jennings and Stewart McAllister
• The Third Man (1949) dir. Carol Reed
  • shots were filmed off the horizontal axis to show moral imbalance
• The True Glory (1945) dir. Carol Reed and Garson Kanin
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese

 

• Role – Coder
• SMART Goal – By April 30, while working independently I will have obtained certification from the  Solo Learn C++ online class to be able to better understand and utilize the C++ coding language for my April 2020 stretch goal.
• Why – I want to achieve this goal because by completing it I will be better prepared for the career that I am pursuing as a software engineer since C++ is one of the most commonly used languages in that field.
• How – I will achieve this goal by setting aside times throughout the week to work in solo Learn.
• When – I want to work on my stretch goal at least 3 times a week but may do it more if I feel it is necessary
• Resources – The resources that I will use to achieve my goal is my chrome book and my phone since both can use solo learn
• Milestones – By April 23rd I want to be halfway through the functions module of the C++ tutorial and I intend to have my certificate by April 30th.
• Heroines / Heroes – I admire Jeff Dean since he is the lead software engineer in the AI department of Google and that would be my dream job. More information can be found about him at the site listed below.         https://en.wikipedia.org/wiki/Jeff_Dean_(computer_scientist)
• Documentation – I originally intended to be halfway done with my stretch goal by April 23rd. As of April 23rd, I am actually more than halfway through my goal since I was able to test out of the last parts of the first module for the C++ SoloLearn tutorial which placed me just slightly past the halfway point.

• – I planned to be done with the C++ tutorial course by May 1st. As of May 1st, I have indeed completed the tutorial course as well as the challenges at the end of the course and due to that, I have also acquired my certificate showing that I successfully completed the course. Over the course of my stretch goal, I worked in SoloLearn at least once a day right before I went to sleep but also on occasion worked on it during the mid parts of the day in between working on assignments from other classes.

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