The Story of Film : Episode 5

The Story of Film Episode 5 -Post-War Cinema

1939-1952: The Devastation of War…And a New Movie Language

• Rome, Open City (1945) dir. Roberto Rossellini
  • • Used current day events to film
    • Showed a lot of movement
• Stagecoach (1939) dir. John Ford
• Directed by John Ford (1971) dir. Peter Bogdanovich
• Osaka Elegy (1936) (introduced in Episode 3) dir. Kenji Mizoguchi
• Flesh and the Devil (1926) dir. Clarence Brown
  • • Shadow focus
• Follow the Boys (1944) dir. A. Edward Sutherland
• Citizen Kane (1941) (introduced in Episode 2) dir. Orson Welles
• Me and Orson Welles (2008) dir. Richard Linklater
• Chimes at Midnight (1965) dir. Orson Welles
• 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
• The Best Years of Our Lives (1946) dir. William Wyler
  • • The father cannot hear the conversation nor is the phonebooth in shot
• Code Unknown (2000) dir. Michael Haneke
• Sátántangó (1994) dir. Béla Tarr
• How to Marry a Millionaire (1953) dir. Jean Negulesco
• Un Homme et une Femme (1966) dir. Claude Lelouch
• Heat (1995) dir. Michael Mann
  • • Long lense causes lights to flair in the background
• Raging Bull (1980) dir. Martin Scorsese
• Bicycle Thieves (1948) dir. Vittorio De Sica
  • • Harsh light
    • The frame is kept far back, at though not to intrude with the character
    • Realism, characters not reacting like audience expects when in a “perfect world” of film
• Pin Up Girl (1944) dir. H. Bruce Humberstone
  • • Fantasy film
• Double Indemnity (1944) dir. Billy Wilder
  • • Both the door and the female are in focus
• Portrait of a 66% Perfect Man: Billy Wilder (1982) dir. Annie Tresgot
• The Testament of Dr. Mabuse (1933) dir. Fritz Lang
  • • Light cast a shadow
• The Big Sleep (1946) dir. Howard Hawks
• 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
• 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
  • • Romantic love, where the man pleads for the woman’s love
• American Cinema: Film Noir (1995) dir. Alain Klarer
• Gun Crazy (1950) dir. Joseph H. Lewis
  • • It was improvised
    • Normally, films would show the faces of the actors. In this film, it was the back of the actors communicating
• Bonnie and Clyde (1967) dir. Arthur Penn
• L.A. Confidential (1997) dir. Curtis Hanson
  • • Influenced by Gun Crazy
• Blade Runner (1982) dir. Ridley Scott
• The Dark Knight (2008) dir. Christopher Nolan
• Siva (1989) dir. Ram Gopal Varma
  • • Low camera angles
    • Dark film noir
• Titanic (1997) dir. James Cameron
  • • Camera moves, smooth pan
• 71st Academy Awards (1999) dir. Louis J. Horvitz
• An American in Paris (1951) dir. Vincente Minnelli
  • • Dance sequence
• The Red Shoes (1948) dir. Michael Powell and Emeric Pressburger
  • • Painted studio backdrops
• Singin’ in the Rain (1952) (introduced in Episode 2) dir. Gene Kelly and Stanley Donen
  • • Used symbolism
    • Rain has a sad mood, but the actor is happy and dancing so the audience understands that the actor won’t let anything make him sad
• 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
  • • Split camera, to show our intermate the characters were
• Two for the Road (1967) dir. Stanley Donen
  • • Intercutting the scenes from an earlier time to later time
• 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
  • • Three images that connect to the same subject
• The Third Man (1949) dir. Carol Reed
  • • Shows the entire length the female must walk to the male
• The True Glory (1945) dir. Carol Reed and Garson Kanin
  • • Dissolves how far the actor must walk
• Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese