What do I want to do in the future. The first thing that I want to do in this timeline is to complet all my assignments that I have for this class before winter break. There are some blog post that I would like to get done before the end of next week. When we get back after the break, I would like to slowly start making films.
Category: Uncategorized
Developing Quality Workflow
Developing Quality Workflow
Work•flow /ˈwərkflō/
“The sequence of industrial, administrative, or other processes through which a piece of work passes from initiation to completion.” – lexico.com
What is a quality workflow? How do we develop it? Below are elements of the production cycle that most creative people move through as they create something. First, we must identify the stages of project production. What is each stage and what are the quality checks for each stage. Read on and find out!
Stages of Creation Development
Inspiration
How do we find ideas to develop?
Look at other things that you are wanting to get inspiration from
You should try to think of something and if that doesn’t work then try going for a walk
IF you think if it is good enough then it could be good quality
You do
Intention
How do we clarify our specific goal(s) for a project?
You should use a list of things that you would like to do
Trial and error
You can see if other people like what you have
You do
Pre-production
How can we brainwrite, brainstorm, storyboard, and plan our ideas at this phase?
You can use Trello
I think timing yourself would be good.
If you think it is good and other people like them it could be good.
You do
Production
How do we communicate with each other and execute our plan for this phase? This is where we actually make the project.
You could use email to communicate
You could follow the storyboard
You could see how people feel about what you have made and if you like it as well then it could be good quality
You do
Post-production
How do we communicate with each other and execute our final stages of the project for this phase? This is where we publish the project.
You could use a shared drive to communicate
You should use a timer and see how long it would take to do something
If you and other people are happy with it then it could be good quality
You do
Presentation/Performance
How do we share our project with our learning community, advisory members, and the world?
You should use youtube
You should use a planer that you could use
If other people like it then you should be ok with it
You do
Feedback
How do we conduct a feedback session at the end of the project development cycle?
You should use email
You should use the rubric
If other people like it then it should be good
You do
Week 9 – GTD – Getting Things Done – Part 1
Week 9 – GTD – Getting Things Done – Part 1
“Day 092/366 – To Do List” by Great Beyond is licensed under CC BY-NC-SA 2.0
Your toughest work is defining what your work is! – Peter Drucker
SUMMARY
This week I did some of the assignments that I need to get done this week.
PRACTICE ROOM (TUTORIALS)
In this ‘room’ you are going to try Getting Things Done (GTD).
STEP 1: MAKE A LIST
- Set a timer
- Spend up to 5 minutes
- Write a list, here in this section of your blog,
Film 2
-
- Week 7 blog post
- Sneak on the lot
History
-
- 13 colonies
Chemistry
-
- NA
Japanese
-
- L5-5 Notes: Vocabulary & Grammar
Financial Algebra
-
- NA
English
-
- Areas of Exploration part 2
- Opening Day Activity. 2021
- October 14 IR Day
- 10.28 Reading Day
STEP 2: NOTICE WHAT YOU NOTICED
- 13 Colonies
- L5-5 Notes: Vocabulary & Grammar
- October 14 IR Day
- 10.28 Reading Day
- Week 7 blog post
- Sneak on the lot
- Areas of Exploration Part 2
- Opening Day Activity.2021
STEP 3: SET A TIMER
- Set a timer for your first task
- Decide how long you think it will take before you start
- Start working
- Repeat this process for 45 minutes for as many tasks as you can complete, then take a 15-minute break
- Get up and get a drink of water
- Get up and go for a walk
- Every 20 minute blink your eyes 20 times while looking at least 20 feet away
- This is good for your eyes
Start steps 1 through 3 again, repeat for your school day
OUTSIDE (PRODUCTIVITY & THE BRAIN)
- Set a timer
- Spend up to 20 minutes in this ‘room’
- Watch the first 30 seconds of this Oct. 2020 interview with David Allen
- Reflect on GTD and getting to the top of the colorful list above for a minute
- How can the GTD process help you tame the crazy-busy dragon of modern life?
- Then, go for a 15-minute walk, if it is safe to do so
- Write a few sentence reflection
- DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE
OPTIONAL EXERCISE – Literally, read the article and go for another walk 🙂
“I coach C-suite executives and rising stars from the earliest startups to Fortune 100 companies. My passion is to help ambitious leaders achieve their full human potential.” – Read more about Katia…
- Set a timer
- Spend up to 15 minutes reading…
- FastCompany Magazine article about Katia Verresen’s techniques and GTD, https://www.fastcompany.com/3026827/the-brain-hacks-top-founders-use-to-get-the-job-done
- Then, go for another 15-minute walk, if it is safe to do so
- DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE
WHAT I LEARNED and PROBLEMS I SOLVED
- Write only a few sentences of WHAT YOU LEARNED
- In one or two sentences, describe a PROBLEM YOU SOLVED
- DELETE ALL OF MR. LE DUC’s INSTRUCTIONS, AFTER YOU ARE DONE
Something that I learned is how I should manage my time to do my school work and get this done. It is nice that I learned how to do this because it has helped me out a lot.
A problem that I had was that I was taking too long to do some assignments so the way I solved them, was by using a timer.
WEEKLY ACTIVITY EVALUATION
- Give feedback on this week’s class Content and Process
- Fill in the Weekly Activity Evaluation
- DELETE THIS WHOLE SECTION, AFTER YOU ARE DONE
Recipe For Success: Martin Luther King Jr.
Recipe For Success: PLACE PERSON’s NAME HERE
Born: January 15, 1929, Atlanta Georiga
Personal Success Definition
I define success as someone who is able to reach their goal or other things that they want like achieving things.
Martin Luther King Jr. was successful because of some reason and one of those reasons is because his dream came true. One of his dreams was that white and black people would live together in peace and that did come true. It may have taken a little bit to happen, but it did happen.
Skills for Success
Martin Luther King Jr. had a 1) good vocabulary, 2) Bachelor’s in Sociology, 3) was a smart man. Ever since Martin Luther King Jr. was young, he was always trying to improve his vocabulary. He was accepted into Morehouse college at the age of 15 by passing the exam that you need to get into the college and because of that, he was a very smart man. He ended up getting a bachelor’s in Sociology when he graduated.
How They Used These Skills
He used these skills to be able to make his point better. By having a better vocabulary, I think it could have a better impact on people but, because he had a better vocabulary he could have better speeches than other things like books and or news articles. Since he had a bachelor in Sociology, I think it may have made it better when it came to his speeches because he would know how people would react. Since he was a smart man, I think he would know what not to put in a speech to make people think that he doesn’t know what he’s talking about and making the entire speech useless.
Martin Luther King Jr. had to deal with a lot of things when trying to make his dream come true. He had to deal with being thrown in jail for fighting for his rights. He ended up getting threatening phone calls but, he kept going, and eventually, his dream became true.
Significant Work
This is one of the most famous speeches that Martin Luther King Jr. has done. He had this speech on August 28, 1963.
Resources
Cite at least one of these sources within the text of your writing
https://en.wikipedia.org/wiki/Martin_Luther_King_Jr.
https://en.wikipedia.org/wiki/File:Martin_Luther_King,_Jr..jpg
Story of Film:Episode 15 – Cinema Today and the Future
Episode 15 – Cinema Today and the Future
2000 Onwards: Film Moves Full Circle – and the Future of Movies.
- Swiss Miss (1938) dir. John G. Blystone and Hal Roach
A studio set and painted backdrops
- Blonde Venus (1932) dir. Josef von Sternberg
A frame densly packed
Soft top lighting
- Employees Leaving the Lumiere Factory (1895) (introduced in Episode 1) dir. Louis Lumière
- Fahrenheit 9/11 (2004) dir. Michael Moore
Was one of the biggest box office hits in the history of documentary
- The Bourne Supremacy (2004) dir. Paul Greengrass
It’s trying to be like a documentary
- Être et avoir (2002) dir. Nicolas Philibert
Mr.Lopez was just standing yet he was one of the most vivid human beings on screen in 2002
- Zidane – A Portrait in the 21st Century (2006) dir. Douglas Gordon and Philippe Parreno
Was one of the most innovative films of it’s time
Used extra-long lens
Shalow focus
- Way Down East (1920) (introduced in Episode 1) dir. D. W. Griffith
Softly lit
- Climates (2006) dir. Nuri Bilge Ceylan
One of the most innovative fiction films of the 21st century
- The Death of Mr. Lazarescu (2005) dir. Cristi Puiu
The death of Mr.Lazareuc was one of the most moving works of film realism of the new century
- The Headless Woman (2008) dir. Lucrecia Martel
There is no fast editing in a car crash scene
Static camera, shallow focus
One of the best ever made in South America
- Battle in Heaven (2005) dir. Carlos Reygadas
- Oasis (2002) dir. Lee Chang-Dong
- Memories of Murder (2003) dir. Bong Joon-ho
A conversation simply shot
- Oldboy (2003) dir. Park Chan-wook
The camera is on a dolly, not handheld and close up
- Le Voyage dans la lune (1902) (introduced in Episode 1) dir. Georges Méliès (Although Mark Cousins and the title on the screen indicate that the scene being shown is from La lune à un mètre, the scene is actually from Le Voyage dans la lune.
One of the first science fiction films
- Mulholland Dr. (2001) dir. David Lynch
Handheld
- Requiem for a Dream (2000) dir. Darren Aronofsky
A peranoid dream in a fearful century
- Songs from the Second Floor (2000) dir. Roy Andersson
The color in a scene is green
- Way Out West (1937) dir. James W. Horne
Square on symmetrical
- Indiscreet (1958) (introduced in Episode 5) dir. Stanley Donen
Used split-screen to get around censorship by making it look like the lovers are in the same bed together
- Rules of Attraction (2002) dir. Roger Avary
Go from inside the moment to outside the moment and become a observer
- Avatar (2009) dir. James Cameron
- Motion Capture Mirrors Emotion (2009) dir. Jorge Ribas
21st century manged to insert the mystery of human feeling into a digital and electronic universe
- Tropical Malady (2004) dir. Apichatpong Weerasethakul
Natural light and long takes
The backdrop is so still that it looks almost painted
The film seems to be reincarnated
- Mother and Son (1997) dir. Alexander Sokurov
Shot some of the scenes as from a painting
The scene was stretched and tilled
Constered one of the best films of its time said by critics
- Russian Ark (2002) dir. Alexander Sokurov
The most invented ever made
The greatest gorilla ever made
Sokurov saw this film a single last breath of this civilization
Filmed the eniter movie in one take
- In One Breath: Alexander Sokurov’s Russian Ark (2003) dir. Knut Elstermann
The handheld camera shows the relief
Epilogue the Year 2046
- Inception (2010) (introduced in Episode 4) dir. Christopher Nolan
Innovative Scifi film
The camera flotes
The camera is handheld
- Eternal Sunshine of the Spotless Mind (2004) dir. Michel Gondry
Shot like a Tv crime program
The Story of Film:Episode 10 – Movies to Change the World
1969-1979: Radical Directors in the 70s – Make State of the Nation Movies.
- Fox and His Friends (1975) (a.k.a. Faustrecht der Freiheit) dir. Rainer Werner Fassbinder
- All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
- Ali: Fear Eats the Soul (1974) (a.k.a. Angst essen Seele auf) dir. Rainer Werner Fassbinder
- The Bitter Tears of Petra von Kant (1972) (a.k.a. Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
Has the actors move slowly to seem like there hunted
- All About Eve (1950) dir. Joseph L. Mankiewicz
- Alice in the Cities (1974) (a.k.a. Alice in den Städten) dir. Wim Wenders
- An Affair to Remember (1957) dir. Leo McCarey
A scene is shot in a studio, was crips and colored
- Gods of the Plague (1970) (a.k.a. Götter der Pest) dir. Rainer Werner Fassbinder
- The Second Awakening of Christa Klages (1978) (a.k.a. Das zweite Erwachen der Christa Klages) dir. Margarethe von Trotta
The robbery is one of the lest tens robbery ever filmed
- Burden of Dreams (1982) dir. Les Blank
The camera is far back to capture the rejoice
- Arabian Nights (1974) (a.k.a. Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
- The Spider’s Stratagem (1970) (a.k.a. Strategia del ragno) dir. Bernardo Bertolucci
The cameras track made it seem like a actress is moving for the first in a long time
- The Conformist (1970) (a.k.a. Il conformista) dir. Bernardo Bertolucci
The way the camera moves in the wind like the leaves to as well makes it make the camera is blowing in the wind like the leaves as well
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- Women in Love (1969) dir. Ken Russell
Films a scene as an outdoor slow motion dance
- Performance (1970) dir. Donald Cammell & Nicolas Roeg
The most imaginative shooting in film
The greatest film about identity
- Mean Streets (1973) (introduced in Episode 9) dir. Martin Scorsese
- Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
- Walkabout (1971) dir. Nicolas Roeg
Films in the wide-angle lens to show the space in front of them
- Picnic at Hanging Rock (1975) dir. Peter Weir
Films the girls in slight slowmo to creat a sense of mystery
- My Brilliant Career (1979) dir. Gillian Armstrong
- Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
little sic sound, josceled hand held camera and torentive words make fiction film look stage
- The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
Films with a hand held camera
- Black Girl (1966) (a.k.a. La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
- Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
- La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
The film is dream like
- Xala (1975) dir. Ousmane Sembène
- Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
Spoke slowly in a dream like state
- Badou Boy (1970) dir. Djibril Diop Mambéty
The standing up and hunkering down of the two people give it an abstract rythem and jagginess
Mambety said you either engage in styelestic research or just record reality
- Hyènes (1992) (a.k.a. Hyenas/Ramatou) dir. Djibril Diop Mambéty
- Kaddu Beykat (1975) (a.k.a. Lettre paysanne) dir. Safi Faye
- Harvest: 3,000 Years (1976) (a.k.a. Mirt sost shi amit) dir. Haile Gerima
The story stretches over 3,000 years
People are beginning to talk to each other, a key idea in 3rd cinema
- Umut (1970) (a.k.a. Hope) dir. Yilmaz Güney & Serif Gören
The clothes show how poor the man is
- Yol (1982) dir. Yilmaz Güney & Serif Gören
Long lens filming
Still live shots of confrontation
People look imprison in their windows and door ways
- The Battle of Chile (1975/1977/1979) (a.k.a. La batalla de Chile) dir. Patricio Guzmán
One of the most compelling 3rd cinema films
Filmed with handheld cameras and on rooftops
Used direct sounds, no gloss, no distance
- The Holy Mountain (1973) (a.k.a. La montaña sagrada) dir. Alejandro Jodorowsky
Primary colors, egg shape, a pelagian, nudity, a very 70s production design
The Story of Film Episode 14 – New American Independents & The Digital Revolution
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
The Story of Film Episode 13 – New Boundaries: World Cinema in Africa, Asia & Latin America
1990-1998: The Last Days of Celluloid – Before the Coming of Digital.
- The Apple (1998) dir. Samira Makhmalbaf
Handheld camera
There are no actors playing the girl and the dad
“The film feels like an extraordinary intimate myth about modern parental love gone wrong”
- A Moment of Innocence (1996) dir. Mohsen Makhmalbaf
Films in a panning shot far away
Doubling back
Beautiful close-ups and hunting music
- Where Is the Friend’s Home? (1987) dir. Abbas Kiarostami
Kept the camera on the sideline
Was one of the greatest films and friendship and childhood
- And Life Goes On (1991) dir. Abbas Kiarostami
- Through the Olive Trees (1994) dir. Abbas Kiarostami
- Days of Being Wild (1990) dir. Wong Kar-wai
“Soft shadows, shallow focus, beautiful color”
- In the Mood for Love (2000) dir. Wong Kar-wai
Created one of the most striking personas in world cinema
- Irma Vep (1996) dir. Olivier Assayas
- A City of Sadness (1989) dir. Hou Hsiao-hsien
Holding a long shot holds some sort of tension
- Tokyo Story (1953) (introduced in Episode 3) dir. Yasujirō Ozu
Frames within frames
- Vive L’Amour (1994) dir. Tsai Ming-liang
Is about the loneliness n modern life
- Tetsuo: The Iron Man (1989) dir. Shinya Tsukamoto
- Videodrome (1983) (introduced in Episode 12) dir. David Cronenberg
- Tetsuo II: Body Hammer (1992) dir. Shinya Tsukamoto
Used 43 seconds of since framed images
- La Roue (1923) (introduced in Episode 3) dir. Abel Gance
- Ringu (1998) dir. Hideo Nakata
Colored navy blue
It was japans biggest ever internasal box office hit
- The Exorcist (1973) (introduced in Episode 11) dir. William Friedkin
- Ugetsu Monogatari (1953) dir. Kenji Mizoguchi
- Audition (1999) (introduced in Episode 4) dir. Takashi Miike
- Breaking the Waves (1996) dir. Lars von Trier
- Homicide: Life on the Street (1993-1999) dir. Tom Fontana
- Dogville (2003) dir. Lars von Trier (introduced in Episode 2)
The camera was really close to the actress. The camera was almost touched the actress
- La Haine (1995) dir. Mathieu Kassovitz
Shot in black and white
- Do the Right Thing (1989) (introduced in Episode 12) dir. Spike Lee
Used precise framing and bright color to showed that street life didn’t have to be handheld
- Humanité (1999) dir. Bruno Dumont
Shot in color
The camera is still
- Rosetta (1999) dir. Jean-Pierre Dardenne and Luc Dardenne
The filming idea was going to have the actress run hand have a handheld camera next to the actress
- Touki Bouki (1973) dir. Djibril Diop Mambéty
Old and new Africa in a single image
- Beau travail (1999) dir. Claire Denis
- Late Spring (1949) dir. Yasujirō Ozu
- Crows (1994) dir. Dorota Kędzierzawska
Uses old fashion almost square like frames
- Wednesday (1997) dir. Victor Kossakovsky
- 24 Realities a Second (2004) dir. Nina Kusturica and Eva Testor
The scene last almost 11 minutes
- Code Unknown (2000) (a.k.a. Code inconnu) (introduced in Episode 5) dir. Michael Haneke
- Funny Games (1997) dir. Michael Haneke
One of the actors rewinds the tv but the film itself rewinds, not the TV
- Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
One of the scenes, the films melts
The Story of Film Episode 12 – Fight the Power: Protest in Film
The 1980s: Moviemaking and Protest – Around the World.
- The Horse Thief (1988) dir. Tian Zhuangzhuang
- Yellow Earth (1985) dir. Chen Kaige
The greatest villages film in china in the 80s
- Raise the Red Lantern (1991) dir. Zhang Yimou
- House of Flying Daggers (2004) dir. Zhang Yimou
- Repentance (1984) dir. Tengiz Abuladze
- Arsenal (1929) (introduced in Episode 3) dir. Alexander Dovzhenko
Filmed from far away in daylight
- Come and See (1985) dir. Elem Klimov
The boy seems to get smaller due to the wide-angle lens
The acting, sound designed, wide-angle camera work made it the best war film
- Long Goodbyes (1971) dir. Kira Muratova
No sound of the train itself
Filmed in long lens
About psychological bondage
- A Short Film About Killing (1988) dir. Krzysztof Kieślowski
The killing scene takes about 3 minutes, in real-time
The film changed the death sentence in Poland
- Psycho (1960) (introduced in Episode 8) dir. Alfred Hitchcock
- Wend Kuuni (1983) dir. Gaston Kaboré
The film was a landmark in Afireca
Put a flashback into another flashback
- Yeelen (1987) dir. Souleymane Cissé
Scifi roar on the soundtrack
- Video Killed the Radio Star (1979) (music video) dir. Russell Mulcahy
Fast editing, stepped cuts
- Flashdance (1983) dir. Adrian Lyne
The editing is fast, the angles are numerous and sexy
- Top Gun (1986) dir. Tony Scott
Many of the shots last just 2 to 3 seconds
- Blue Velvet (1986) (introduced in Episode 3) dir. David Lynch
- The Elephant Man (1980) dir. David Lynch
- Do the Right Thing (1989) dir. Spike Lee
- The Third Man (1949) dir. Carol Reed (introduced in Episode 5)
Follows one of the characters
- Return of the Secaucus 7 (1980) dir. John Sayles
The camera focuses on a group of friends conversation
- Subway (1985) dir. Luc Besson
Like a car chase but on rollerskates
- Les Amants du Pont-Neuf (1991) dir. Leos Carax
- An American in Paris (1951) dir. Vincente Minnelli (introduced in Episode 5)
Modern dance, a splash of color
- Labyrinth of Passion (1982) dir. Pedro Almodóvar
One of the scenes were so provocative
The style is cheap, not classy
- A Hard Day’s Night (1964) (introduced in Episode 8) dir. Richard Lester
- The Quince Tree Sun (1992) dir. Víctor Erice
Uses no camera moves, natural light
- My Beautiful Laundrette (1985) dir. Stephen Frears
The film was ” A knee to the balls to the right-winged government”
- My Childhood (1972) dir. Bill Douglas
“A simple scene, but one of the great moments of reconciliation in cinema
- Gregory’s Girl (1981) dir. Bill Forsyth
Most of the film, the camera is horizontal until the camera tillets, so it’s like a poem
- Distant Voices, Still Lives (1988) dir. Terence Davies
There is the sound of people using the staircase, but there is nobody there
- Intolerance (1916) dir. D. W. Griffith (introduced in Episode 1)
- Young at Heart (1954) dir. Gordon Douglas
Usees a crane shot, it glades into a nice world even though someone killed themself
- A Zed & Two Noughts (1986) dir. Peter Greenaway
Likes the frame to be symmetrical
- The Last of England (1988) dir. Derek Jarman
- Videodrome (1983) dir. David Cronenberg
- Crash (1996) dir. David Cronenberg
- Neighbours (1952) dir. Norman McLaren
- Jesus of Montreal (1989) dir. Denys Arcand
Speaks truth to power
The Story of Film:Episode 9 – American Cinema of the 70s
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