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