1967-1979: New American Cinema.
- Duck Soup (1933) dir. Leo McCarey
- Artists and Models (1955) dir. Frank Tashlin
- Catch-22 (1970) dir. Mike Nichols
- Mash (1970) dir. Robert Altman
Altman’s approach is innovative, He fills the screen with actors, Mics them all up, records all of there dialog at the same time then mixes a complicated soundtrack of overlapping dialog
The situation is tragic but the attitude is light-hearted which makes it an upside word
Some of the actors didn’t know if they were on camera due to long lenses
- The Graduate (1967) dir. Mike Nichols
- The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
- One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
Shoots with naturalistic light, close-ups to see the actors faces
- The Last Movie (1971) dir. Dennis Hopper
The camera romes, the lenses are long, the colors are muted
- McCabe & Mrs. Miller (1971) dir. Robert Altman
- The Conversation (1974) dir. Francis Ford Coppola
- Mean Streets (1973) dir. Martin Scorsese
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
- Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
A scene was shot in documentary style
- Italianamerican (1974) dir. Martin Scorsese
- American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
- Light Sleeper (1992) dir. Paul Schrader
- 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
Black senators were protrade as drunks
- Killer of Sheep (1978) dir. Charles Burnett
- The Shop Around the Corner (1940) dir. Ernst Lubitsch
- Annie Hall (1977) dir. Woody Allen
- City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
- Manhattan (1979) dir. Woody Allen
Widescreen images
- The Last Picture Show (1971) dir. Peter Bogdanovich
Showed how he mixed old and new
- The Wild Bunch (1969) dir. Sam Peckinpah
Took the idea of slowing down time to extend the scene
- Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
- Badlands (1973) dir. Terrence Malick
- Days of Heaven (1978) dir. Terrence Malick
Panaglde is a camera on the body
Only the light from the flames where used
The images had the shallowest focus in cinema history
- Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
- Cabaret (1972) dir. Bob Fosse
- The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
Had a scene shot like a Rembrandt patining
- Chinatown (1974) dir. Roman Polanski
Shot widescreen had 30s muted color
Filmed with wide angles lenses, bright lights, and precise framing
- The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
- Jules et Jim (1962) dir. François Truffaut