The 1990s: The First Days of Digital – Reality Losing Its Realness in America 12:12 and Australia.
- Gladiator (2000) dir. Ridley Scott
Looks liked it was filmed on a helicopter
- Intolerance (1916) (introduced in Episode 1) dir. D. W. Griffith
Put the camera on a giant crane
- Terminator 2: Judgment Day (1991) dir. James Cameron
The metal liquid looked like it was in the helicopter
- Anchors Aweigh (1945) dir. George Sidney
Jerry looked like he was drawn
- Gertie the Dinosaur (1914) (introduced in Episode 4) dir. Winsor McCay
- Jurassic Park (1993) (introduced in Episode 11) dir. Steven Spielberg
- Titanic (1997) (introduced in Episode 5) dir. James Cameron
Shots filmed in deep space to show the hight of the boat and the length of the jump
- Toy Story (1995) dir. John Lasseter
The first mainstream feature ilm to be made entirely with a computer
- The Blair Witch Project (1999) dir. Daniel Myrick and Eduardo Sánchez
Had the look and sound of cam-quarter video footage
The man’s voice is closer to the camera due to the internal mic
- House of Flying Daggers (2004) (introduced in Episode 12) dir. Zhang Yimou
The bean that was flicked towards the drums was computer generated
The motion blur was also computer-generated
Images doing things that they could never do before
- Goodfellas (1990) dir. Martin Scorsese
The ganster at the end of the film looks right into the camera, a very post-modern thing to do
- The Great Train Robbery (1903) dir. Edwin S. Porter
- The Killers (1946) dir. Robert Siodmak
There is little dialogue
- Pulp Fiction (1994) dir. Quentin Tarantino
One of the most influential gangster pictures of the 90s
The lighting is much brighter
To emphasis the dialogue, they use static shots
- Reservoir Dogs (1992) dir. Quentin Tarantino
Long lens
wide shot then close-ups
- City on Fire (1987) dir. Ringo Lam
long lens
wide shots then close-ups
- Bande à Part (1964) dir. Jean-Luc Godard
Fast cut close-ups of the main characters
- Natural Born Killers (1994) dir. Oliver Stone
Has a scene shot on film with a green tint and on a glide camera
- Miller’s Crossing (1990) dir. Joel Coen and Ethan Coen
The hat is in focus and the trees are out of focus
- The Hudsucker Proxy (1994) dir. Joel Coen and Ethan Coen
The film shot in blue and navy
- O Brother, Where Art Thou? (2000) dir. Joel Coen and Ethan Coen
- The Big Lebowski (1998) dir. Joel Coen and Ethan Coen
- My Own Private Idaho (1991) dir. Gus Van Sant
The film was shot in empty landscape
- The Shining (1980) dir. Stanley Kubrick
- Elephant (2003) dir. Gus Van Sant
The film was shot in the 4 by 3 screen ratio
- Elephant (1989) dir. Alan Clarke
The study cam showed the driven almost trans like walking of gunman in northern Ireland
FIlmes felt like video games which became an influence in 90s cinema
- Gerry (2002) dir. Gus Van Sant
- Sátántangó (1994) (introduced in Episode 5) dir. Béla Tarr
Shows the beauty of walking
The film is full of fixed shots
- Last Days (2005) dir. Gus Van Sant
Also had fixed shots like Jeanne Dielman
- Psycho (1960) (introduced in Episode 8) dir. Alfred Hitchcock
- Psycho (1998) dir. Gus Van Sant
- Cremaster 3 (2002) dir. Matthew Barney
- Safety Last! (1923) (introduced in Episode 2) dir. Fred C. Newmeyer and Sam Taylor
- RoboCop (1987) dir. Paul Verhoeven
- Starship Troopers (1997) dir. Paul Verhoeven
The bugs are CGI
The look was “Bright and shiny”
The soundtrack is “Explovisve”
- An Angel at My Table (1990) dir. Jane Campion
The film has a close up onto a piece of chalk
- The Piano (1993) dir. Jane Campion
Used very suggestive images and sounds
- Romeo + Juliet (1996) dir. Baz Luhrmann
Long lens
The gunfight shot in close up
Tracking
- Moulin Rouge! (2001) dir. Baz Luhrmann
Goes through computer-generated and modeled alleyways in Paris
Reverse angle editing