The Story of Film – American Cinema of the 70s
1967-1979: New American Cinema.
- Duck Soup (1933) dir. Leo McCarey
- Artists and Models (1955) dir. Frank Tashlin
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- Looked like a cartoon
- The colors were meant to make the film seem fake
- “In order to be funny, you need to think sad first”
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- Catch-22 (1970) dir. Mike Nichols
- Mash (1970) dir. Robert Altman
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- mics all actors then overlaps audio
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- The Graduate (1967) dir. Mike Nichols
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- glamorous style, fitting with the theme of the movie
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- The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
- One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
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- naturalistic light
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- The Last Movie (1971) dir. Dennis Hopper
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- challenged “normal” film style
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- McCabe & Mrs. Miller (1971) dir. Robert Altman
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- just as radical as Hopper
- long lens
- no heroes in the films
- visual uncertainty
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- The Conversation (1974) dir. Francis Ford Coppola
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- about new type of sound equipment
- the character can’t see other people, but director shows the characters
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- Mean Streets (1973) dir. Martin Scorsese
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- tracking camera
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- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
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- showed raw emotion
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- Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
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- did not show raw emotion
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- Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
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- flat light, long lens
- wide angle lens
- fast zoom ins
- black and white film
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- Italianamerican (1974) dir. Martin Scorsese
- American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
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- red light setting
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- Light Sleeper (1992) dir. Paul Schrader
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- blue light setting
- finds grace through women
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- Pickpocket (1959) (introduced in Episode 7) dir. Robert Bresson
- The Walker (2007) dir. Paul Schrader
- The Birth of a Nation (1915) (introduced in Episode 1) dir. D. W. Griffith
- Killer of Sheep (1978) dir. Charles Burnett
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- Kid’s POV
- filmed in black and white
- used black music to add effect
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- The Shop Around the Corner (1940) dir. Ernst Lubitsch
- Annie Hall (1977) dir. Woody Allen
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- single shot scene, no cuts
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- City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
- Manhattan (1979) dir. Woody Allen
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- wide screen images
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- The Last Picture Show (1971) dir. Peter Bogdanovich
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- filmed in black and white
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- The Wild Bunch (1969) dir. Sam Peckinpah
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- had character shoot mirror, demonstrating how he couldn’t face himself
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- Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
- Badlands (1973) dir. Terrence Malick
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- scene was reversed
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- Days of Heaven (1978) dir. Terrence Malick
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- films wind, the way it moves other objects
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- Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
- Cabaret (1972) dir. Bob Fosse
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- mix new style with old style
- shot in closeups
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- The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
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- dark style film
- no long lens, no helicopter shots
- minimal movements for actors
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- Chinatown (1974) dir. Roman Polanski
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- old Hollywood style
- wide angle
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- The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
- Jules et Jim (1962) dir. François Truffaut