The Story of Film : Episode 3

The Story of Film Episode 3 -The Golden Age of World Cinema

1918-1932: The Great Rebel Filmmakers Around the World

• The Thief of Bagdad (1924) (introduced in Episode 2) dir. Raoul Walsh
• The Passion of Joan of Arc (1928) (introduced in Episode 2) dir. Carl Theodor Dreyer
• Robert and Bertram (1915) dir. Max Mack
• The Oyster Princess (1919) dir. Ernst Lubitsch
  • • Mocking
• The Mountain Cat (1921) dir. Ernst Lubitsch
  • • He was daring
    • Has an actor, physically gives the female his “heart”
• The Marriage Circle (1924) dir. Ernst Lubitsch
  • • Daring on how he portrayed sexuality
• La Roue (1923) dir. Abel Gance
  • • Cause viewers to feel fear for the actor
    • Shots of the characters back and forth, too fast for the audience to take them in one by one
• Napoléon (1927) dir. Abel Gance
  • • Had a sponge on the camera, so the actor could actually punch the camera
    • Films in multiple different angles so the audience had to turn their heads to understand the scene
• The Cabinet of Dr. Caligari (1920) dir. Robert Wiene
  • • Shadows to show the scene
    • Ended the film that it was all just a dream
• The Tell-Tale Heart (1928) dir. Charles Klein
• The Lodger (1927) dir. Alfred Hitchcock
• A Page of Madness (1926) dir. Teinosuke Kinugasa
  • • Fast images and casting shadows on the scene
    • Showing flashbacks to the characters past
• Metropolis (1927) dir. Fritz Lang
  • • Makeup to enhance emotion or an action
• The Crowd (1928) (introduced in Episode 2) dir. King Vidor
• Sunrise: A Song of Two Humans (1927) dir. F. W. Murnau
  • • Used the current day ideals to fit the film
    • The cities were dangerous but magical to show this the actors move towards the cities and cut to flowers
• Opus 1 (1921) dir. Walter Ruttmann
  • • One of the first abstract animation films
• Entr’acte (1924) dir. René Clair
• Rien que les heures (1926) dir. Alberto Cavalcanti
  • • Multiple eyes
• Spellbound (1945) dir. Alfred Hitchcock
• Un Chien Andalou (1929) dir. Luis Buñuel
  • • going from one human thing to something unexpected
• Blue Velvet (1986) dir. David Lynch
• L’Age d’Or (1930) dir. Luis Buñuel
• Kino-Pravda n. 19 (1924) dir. Dziga Vertov
• Glumov’s Diary (1923) dir. Sergei Eisenstein
• Battleship Potemkin (1925) dir. Sergei Eisenstein
  • • People say that his filming justified violence
• The Untouchables (1987) dir. Brian De Palma
• Arsenal (1929) dir. Alexander Dovzhenko
  • • Women stand motionless to give a sense grieve and hardship to the audience
    • Brought deep emotion within his films
• Earth (1930) dir. Alexander Dovzhenko
• I Was Born, But… (1932) dir. Yasujirō Ozu
  • • Japan had some of the most humanistic films
• Tokyo Story (1953) dir. Yasujirō Ozu
  • • Rythym is important
    • Low camera position, then filmed as part of the ceiling
    • Ozu brought the camera at both the actors, the actors did not look like they were talking to each other but still were connected even so
    • Filmed from far back so the actor’s head wouldn’t disappear
    • Had pauses in his films, to add a moment of composition
• 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
  • • Boldness in the background
    • Doesn’t tell actors what to do, let the actor act naturally
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
• Chikamatsu Monogatari (1954) dir. Kenji Mizoguchi
  • • Never told actors what to do
• Mildred Pierce (1945) dir. Michael Curtiz
• Romance of the West Chamber (1927) dir. Hou Yao and Minwei Li
• Scenes of City Life (1935) dir. Yuan Muzhi
  • • Use of symbolism
• The Goddess (1934) dir. Wu Yonggang
  • • Start of realistic acting
• Center Stage (1991) dir. Stanley Kwan
• New Women (1935) dir. Cai Chusheng