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