Summary

My short film is about a student during the pandemic who explains how the whole situation and how it affected everything. I decided to go outside with a friend to get some shots of the (somewhat) empty roads in the neighborhood.

Logline

A student is fighting against the struggle of Covid for some motivation.

Intent / Goals

• FOR YOU: What was one TECHNICAL and one CREATIVE goal you set for yourself RELATED TO THE ROLE you fulfilled in making this project (Example: Editor, Director, etc,)? Use SPECIFIC TECHNICAL / CREATIVE TERMS in your explanation One specific goal that I set for myself was to understand the very basics and technical aspects of editing. I mainly wanted to get familiar with certain types of edits, like jump cuts.
• FOR THE PROJECT: I just wanted the film to be overall coherent and straightforward. I wasn’t able to do a lot, considering the restrictions, but I still tried to make something simple.

Research

• I used the 13 edits video from YouTube for most of my project.
• What was interesting about the video was how straightforward and easy to understand it was.

Questions

• Were the edits well done?
• Did the film make sense?

Peer Feedback

• The sound quality of the narrator’s voice sounded odd, yet appropriate for the tone of the film. Some of the editing techniques seemed unnecessary/meaningless (Brian).
• The visuals were repetitive, which made it a bit boring. If the visuals were to be extended (more variety), then it could make the film more interesting (Avian).

• What about editing language understanding did you notice? I noticed that there is a sense of rhythm in the editing, which nicely shows the audience just the right amount of information needed.
• What did you like about the film clip? What I liked about this film clip was the amount of suspense and mystery. Due to the quick and clean editing, the audience will most likely suspect that something is going to happen.
• What question do you have from what you saw? The main question I have is what other specific editing techniques are used in this scene, if there are any. I’m pretty sure there are many that I didn’t catch.
• Write what you learned from this week’s exercises? I learned a few interesting techniques about editing, which will affect the way I watch movies for a bit. I never really considered that there are so many clever ways to edit something, but now I do.

Sources

13 Creative Film and Video Editing Techniques

7 Editing Tips That Are Simple And Beautiful

• When it comes to structure, don’t be too repetitive when it comes to your writing
• Have more than one story and make the stories parallel with another
• Go back between stories. Once one story loses interest drop it out for the other to maintain the quality of the story
• Efficient actions lines (serving as a guide for the actors/director) can quickly set the tone of a scene
• Dialogue may change from the screenplay to screen because of adjustments from the actors or the director, making it important for the writer to set the tone for the scene
• The first line of dialogue in a scene should essentially frame the rest of the scene. While the last line should be the point of the scene
• Subplot characters can be used as a device to reveal (new) information to the main character
• Subplot characters can also be used as examples of what can potentially happen to the main character
• Writers need to be clear, concise, and creative when preparing a screenplay

Summary

The short film I made is quite simple. A man wakes up and decides he wants some breakfast, but not just anything, he wants cereal. He walks from his bedroom to his kitchen and realizes something. He is too short to reach the cereal on the top of his fridge. After thinking about it, he realizes that he has medication that helps him grow, which will solve his current problem. It doesn’t take too long for him to figure out where the medicine is because his dog has played with it in another room. He quickly slaps the medication out of the dog’s mouth and obtains it. Once he has what he needs, he takes the medication and instantly grows tall. Finally, the man walks back to his kitchen to have some cereal.

Log line: A man is fighting the restrictions of his height for some cereal.

Goal: My goal in this film was to portray someone/something overcoming a struggle.

Feedback

Was the story coherent/did it make sense?

Did the visuals well represent what was going on in the story?

Feedback from peers

Mix sound quality better

Good animation

Clear conveying of message

Summary

• For this project I chose to watch Pan’s Labyrinth. The reason I chose this film was because I’ve seen other films from Guillermo del Toro that I really enjoyed.

Film Analysis

Film Title	Pan’s Labyrinth
Year	2006
Director	Guillermo del Toro
Country	Spain
Genre	Fantasy, Drama
If you could work on this film (change it), what would you change and why?	I think the best scenes from the film were the fantasy aspects. The production and the affects were very authentic and well done. I just wish we got to see more of that world since it’s not showed very often.

Film information can be found at imdb.com

As you view films, consider how the cuts, camera angles, shots, and movement work to create particular meanings. Think about how they establish space, privilege certain characters, suggest relationships, and emphasize themes. In addition to shot distances, angles, editing, and camera movement, note details of the narrative, setting, characters, lighting, props, costume, tone, and sound.

Ask yourself the following questions:

TOPIC	YOUR NOTES
1. Who is the protagonist?	Ofelia
2. Who is the antagonist?	Captain Vidal
3. What is the conflict?	Ofelia has to carry out three tasks ordered by the faun, but she struggles by doing so because of Captain Vidal.
4. What is the theme or central, unifying concept? (summarize in one or two words)	Innocent vs. Evil
5. How is the story told (linear, non-linear, with flashbacks, flash-forwards, at regular intervals)	Linear
6. What “happens” in the plot (Brief description)?	Ofelia, who (at the start of the film) lives with her stepfather (Vidal) and her pregnant mother explores until she finds a Labyrinth. In the Labyrinth there is a faun who explains to her that if she completes three tasks she can become the Princess of the Underworld.
7. How does the film influence particular reactions on the part of viewers (sound, editing, characterization, camera movement, etc.)? Why does the film encourage such reactions?	The thing that really stands out in this film would either be the set design or the practical affects. These both really had to the fantasy aspect of the film, making it much more unique than most other fantasy films.
8. Is the setting realistic or stylized? What atmosphere does the setting suggest? Do particular objects or settings serve symbolic functions?	The setting is somewhat real (except for the labyrinth). The mysterious and earth-like atmosphere of the labyrinth adds a lot more to the visuals, making it a better/more interesting watch for viewers.
9. How are the characters costumed and made-up? What does their clothing or makeup reveal about their social standing, ethnicity, nationality, gender, or age? How do costume and makeup convey character?	The majority of the characters are soldiers so they are wearing war related outfits. These can convey that most of the characters are the evil in this film and one the other end (someone like Ofelia) seems to wear standard clothing (for the time) showing that shes the innocent of the film.
10. How does the lighting design shape our perception of character, space, or mood?	It seems to be standard/conventional. I guess this can add some sort of relatable aspect to the fantasy.
11. How do camera angles and camera movements shape our view of characters or spaces? What do you see cinematically?	The shots perfectly convey what is needed. Sometimes there is clever camera transitions for quick, yet meaningful transitions between plots.
12. What is the music’s purpose in the film? How does it direct our attention within the image? How does it shape our interpretation of the image? What stands out about the music?	The music is appropriate through the whole thing. When it’s intense it gets intense. When it’s a calming or soothing scene, the music works great.
13. How might industrial, social, and economic factors have influenced the film? Describe how this film influences or connects to a culture?	War is definitely a symbol in the film. I think that it shows how war causes harm towards many innocents.
14. Give an example of what a film critic had to say about this film. Use credible sources and cite sources.Example: “The Shawshank Redemption Movie Review (1994) | Roger Ebert.” All Content. N.p., n.d. Web. 24 June 2015.	“Pan’s Labyrinth is one of the greatest of all fantasy films, even though it is anchored so firmly in the reality of war. (2007) | Roger Ebert. “
15. Select one scene no longer than 5 minutes that represents well the whole film and shows relevant cinematic elements. Write a one-sentence description of the scene and record the time of the scene.Example: from 1:05:00 to 1:10:00.Explain why you chose this scene.	1:47:00 – 1:52:20 These 5 minutes are the last of the film. I think it well represents the meaning well and also has a satisfying cinematic fantasy ending.
16. In the selected scene: write a sentence for each of the elements below to justify why this scene best represents the film:
a. Screenwriting:	It’s quite simple. I would say the writing was well structured and appropriate considering the scene.
b. Sound Design:	Wasn’t anything outstanding, but perfect for the scene.
c. Camera Movements/Angles:	The little amount of camera work shows the importance of the last scene and also shows/reveals many visually appealing aspects.
d. Light Setup:	The lighting was good enough to perfectly understand what was happening.
e. Soundtrack/Score:	Since the final scene was pretty sad but also sweet, the music nicely matched up with the emotion.
18. What’s the socio-cultural context of this film?	I feel like it has something to do with the innocence of people (like Ofelia) being harmed by others in war. It may be more vague than that though.

This worksheet was developed with ideas from many IB Film teachers, thus should remain in the Creative Commons

Mr. Le Duc’s Film Analysis Resources

• Diigo.com Film Analysis Links
• YouTube Film Analysis Playlist

“Judy Garland, Hedy Lamarr and Lana Turner” by classic film scans is licensed under CC BY 2.0

“Analysis gave me great freedom of emotions and fantastic confidence. I felt I had served my time as a puppet.”

Hedy Lamarr – Read about 1930s actress Hedy Lamarr-inventor of cellphones, Wi-Fi and GPS

SUMMARY

• This week was very calm and engaging. I really enjoyed getting to watch a film that I’ve previously seen and then analyze it. I haven’t done this before, but I really enjoyed it.

OUTSIDE (CREATIVITY, PRODUCTIVITY & THE BRAIN)

• After reading this and thinking about I thought nothing of it at first, because I thought I was fine when it came to having to relax/calm down, but then I considered that maybe I could use some sort of guild or example to better my self care. As of now, I would like to improve mainly because I’m not as fine with my schedule as I thought I was. If I get more done or achieve more, I will feel more fulfilled about everything.

THEATER

• Watch a film, of your choice, for the analysis part of this blog post

WHAT I LEARNED and PROBLEMS I SOLVED

• This week I learned about my self/my mental health and how important it is. I believe that if you just take time to think about things, you can make your life a lot easier. I’m going to probably try to relax more often and just think about things, instead of having to just randomly think about what I have to do by the end of the day.
• A problem I solved is that now I have a better understanding of what I should do when being stressed mentally. I now know that thinking about things while calm is definitely and easy, convenient way to solve many problems.

Summary

• The film I chose for this assignment was Ratatouille. I chose this film because I’ve seen it many times and would consider it to be one of my favorite animated movies.

Film Analysis

Film Title	PLACE YOUR RESPONSES IN THIS COLUMN (DELETE THIS MESSAGE BEFORE YOU WRITE)
Year	2007
Director	Brad Bird
Country	United States
Genre	Animation, Comedy, Drama.
If you could work on this film (change it), what would you change and why?	I can’t think of anything I would change. I believe the film is flawless.

As you view films, consider how the cuts, camera angles, shots, and movement work to create particular meanings. Think about how they establish space, privilege certain characters, suggest relationships, and emphasize themes. In addition to shot distances, angles, editing, and camera movement, note details of the narrative, setting, characters, lighting, props, costume, tone, and sound.

Ask yourself the following questions:

TOPIC	YOUR NOTES
1. Who is the protagonist?	Remy, Linguini
2. Who is the antagonist?	Chef Skinner
3. What is the conflict?	Remy, who aspires to be a chef, covers and helps Linguini (he does the same for Remy) work as a chef, but they have to keep it a secret because they could get caught and the whole plan would fail.
4. What is the theme? (summarize in one or two words)	Arising
5. How is the story told (linear, with flashbacks, flash-forwards, at regular intervals)	Linear
6. What “happens” in the plot (Brief description)?	After Remy (who is a rat) gets separated from his family, he ends up in Paris where he secretly covers for Linguini (a former garbage boy) as a chef at Gusteau’s (a restaurant). Since they have to obviosly keep it a secret, it makes for an interesting and clever series of events.
7. How does the film influence particular reactions on the part of viewers (sound, editing, characterization, camera movement, etc.)? Why does the film encourage such reactions?	Visuals mainly. Every aspect of the film seems to be either standard or outstanding. Out of all aspects, the visuals seem to stand alone, considering how great it looks.
8. Is the setting realistic or stylized? What atmosphere does the setting suggest? Do particular objects or settings serve symbolic functions?	The setting is realistic and the atmosphere seems to be quite simple.
9. How are the characters costumed and made-up? What does their clothing or makeup reveal about their social standing, ethnicity, nationality, gender, or age? How do costume and makeup convey character?	Since most of the film takes place in a restaurant, a lot of the costumes involve kitchen attire. Food ,or food relating material, plays a important rule in this film since a lot of it drives the plot.
10. How does the lighting design shape our perception of character, space, or mood?	The lighting seems to be realistic/standard which evokes a relatable mood, visually. This makes the film feel more real.
11. How do camera angles and camera movements shape our view of characters or spaces? What do you see cinematically?	I believe the film has good enough camera work to show the audience the important aspects of the film. It’s also used in some instances as comedy.
12. What is the music’s purpose in the film? How does it direct our attention within the image? How does it shape our interpretation of the image? What stands out about the music?	The music in this film is very memorable and original. These two very things could also be said about the film in general. I feel as if the music is such a part of the film that without it, the movie wouldn’t be as great as it is.
13. How might industrial, social, and economic factors have influenced the film? Describe how this film influences or connects to a culture?	It may connect on a some what deep level in a certain sense. In the film, the two main characters can possibly be an allegory of someone in a lower class that overtime prove themselves, and in the end achieve greatness. This could possibly be a message showing that anyone can truly achieve anything (for example, it seems for Remy, as a rat, almost impossible to become a chef. In real life its obviously not possible, but since this is fiction, it can show this, which is great).
14. Give an example of what a film critic had to say about this filmUse credible sources and cite sourcesExample: “The Shawshank Redemption Movie Review (1994) | Roger Ebert.” All Content. N.p., n.d. Web. 24 June 2015.	“Ratatouille—original, fun—uses a cooking theme to present its story and succeeds well. The characters have personality, the story line is good, the script clean. This film deserves its place in the family home video library. (2019) | Ben Meyer.”
15. Select one scene no longer than 5 minutes that represents well the whole film and shows relevant cinematic elements. Explain why.	Probably one of the best scenes that would best represent the film as a whole would be the last one. It shows the two main characters who succeeded and gotten essentially everything they wanted. It also shows how one of the side antagonists reformed because of their work. Its a good, satisfying ending, that truly shows the brilliance of the film.
16. In the selected scene: write a sentence for each of the elements below:
a. Screenwriting:	Doesn’t feel forced ( is mainly in the background though).
b. Sound Design:	Is as good as expected, nothing inherently wrong.
c. Camera Movements:	Interesting shots that have variety.
d. Light Setup:	Fine, nothing that stood out.
e. Soundtrack:	Probably one of the more noticeable aspects of the scene. The music is very original and authentic.
18. What’s the socio-cultural context of this film?	The sociocultural context of the film definitely has something to do with the lower class arising/proving themselves, showing how anyone can achieve anything, they just have to try. Also it has a reoccurring theme of change. Mainly in the character Remy. Through out the film, he mentions many times that he wants to change and he wants to make a change.

Mr. Le Duc’s Film Analysis Resources

• Diigo.com Film Analysis Links
• YouTube Film Analysis Playlist

Notes

The following material is from Wikipedia

Episode 2 – The Hollywood Dream[edit]

1918-1928: The Triumph of American Film…

• Citizen Kane (1941) dir. Orson Welles
• Shows Hollywood’s ability to use light in a film
• The Thief of Bagdad (1924) dir. Raoul Walsh
• Film background was meant to look like Bagdad
• Desire (1936) dir. Frank Borzage
• Used lights to cast shadows on eyelashes
• Gone with the Wind (1939) dir. Victor Fleming
• Camera on dolly to make the image glide
• Gold Diggers of 1933 (1933) dir. Mervyn LeRoy
• Patterns made with moves
• Singin’ in the Rain (1952) dir. Gene Kelly and Stanley Donen
• Shadows have light in them
• The Maltese Falcon (1941) dir. John Huston
• Night time settings
• The Scarlet Empress (1934) dir. Josef von Sternberg
• Feminine costume
• The Cameraman (1928) dir. Edward Sedgwick and Buster Keaton
• Shows fascination with camera
• One Week (1920) dir. Edward F. Cline and Buster Keaton
• Architectural aspects included in film
• Sherlock Jr. (1924) (introduced in Episode 1) dir. Buster Keaton
• Clever / unique editing
• Three Ages (1923) dir. Buster Keaton and Edward F. Cline
• Overhead shot to make building high
• Buster Keaton Rides Again (1965) dir. John Spotton
• Improvised to make it look like man stops train
• The General (1926) dir. Clyde Bruckman and Buster Keaton
• Jokes are amplified through out the movie
• Stunning visual of bridge collapsing
• Divine Intervention (2002) dir. Elia Suleiman
• Influence from Buster Keaton
• Limelight (1952) dir. Charlie Chaplin
• Into body movement
• City Lights (1931) dir. Charlie Chaplin
• The Kid (1921) dir. Charlie Chaplin
• Was a huge hit
• Bad Timing (1980) dir. Nicolas Roeg
• Hands filmed up close for energy
• The Great Dictator (1940) dir. Charlie Chaplin
• Metaphor of Adolf Hitler
• Monsieur Hulot’s Holiday (1953) dir. Jacques Tati
• Influenced from Chaplin
• Toto in Color (1953) dir. Steno
• Chaplin’s hat
• Awaara (1951) dir. Raj Kapoor
• Model inspired off of Chaplin
• Sunset Boulevard (1950) dir. Billy Wilder
• Saw Chaplin as a master
• Some Like It Hot (1959) dir. Billy Wilder
• Similar to Chaplin scene
• Luke’s Movie Muddle (1916) dir. Hal Roach
• Too much like Chaplin
• Haunted Spooks (1920) dir. Alfred J. Goulding and Hal Roach
• Nerd look
• Changed up look (from Chaplin’s)
• Never Weaken (1921) dir. Fred C. Newmeyer and Sam Taylor
• Shows courage
• Safety Last! (1923) dir. Fred C. Newmeyer and Sam Taylor
• One of the most famous scenes in cinema
• I Flunked, But… (1930) dir. Yasujirō Ozu
• Influenced by Sam Taylor

…And the First of its Rebels

• Nanook of the North (1922) dir. Robert Flaherty
• Longest non fiction film
• The House Is Black (1963) dir. Forough Farrokhzad
• Used beautiful tracking shots
• Sans Soleil (1983) dir. Chris Marker
• Fiction words on non fiction visuals
• The Not Dead (2007) dir. Brian Hill
• Interview about war experience
• The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
• Remade 5 times with differences
• The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
• Blind Husbands (1919) dir. Erich von Stroheim
• The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
• Shows actress how to comb hair
• Greed (1924) dir. Erich von Stroheim
• Money has flooded the world (figuratively)
• Stroheim in Vienna (1948)
• Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
• Shows actress watching movie she was in
• The Crowd (1928) dir. King Vidor
• Attempt at creating realism in film
• The Apartment (1960) dir. Billy Wilder
• The Trial (1962) dir. Orson Welles
• Exaggerating to force effect / perspective
• Aelita: Queen of Mars (1924) dir. Yakov Protazanov
• Played with the rebellious idea of realism
• Posle Smerti (1915) dir. Yevgeni Bauer
• Realism of grief
• The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
• Ordet (1955) dir. Carl Theodor Dreyer
• The President (1919) dir. Carl Theodor Dreyer
• Simplified image
• Vampyr (1932) dir. Carl Theodor Dreyer
• Shadows against white wall
• Shadows have a life of their own
• Gertrud (1964) dir. Carl Theodor Dreyer
• Filmed as if it’s in heaven (white screen)
• Dogville (2003) dir. Lars von Trier
• Opposite of romantic cinema
• Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
• Film shown is The Passion of Joan of Arc

“The most honest form of filmmaking is to make a film for yourself.”

― Peter Jackson,  Link

SUMMARY

• This week I did a good amount of work on the blog post and I also felt that I learned a lot. This week was sort of unique because instead of completing the blog post in one day, I split up the amount of work I did into each day of the week, but I’m not sure if I’ll do it again, considering it took every day of the week.

PRACTICE ROOM (TUTORIALS)

CLASSROOM (THEORY & ANALYSIS)

OUTSIDE (CREATIVITY, PRODUCTIVITY & THE BRAIN)

• (Click for larger PDF version)
•  bananatreelog.com/blog/challenging-cognitive-distortions
•  Cognitive Distortion (view PDF)

• After going on a walk and thinking about this, I mainly focused on the negative aspect of the thought and considered if it is really simple to overcome negative thinking by re framing thought in a positive way. I think that essentially means that if you’re more optimistic and positive when it comes to negative thoughts, you’ll overcome them. It seems like a really obvious thought, but while thinking about it, I did realize that sometimes I never really try to challenge any negative thoughts and I never really try to get rid of them or make them more positive. From now on, I’ll keep this in mind.

WHAT I LEARNED and PROBLEMS I SOLVED

What I learned: This week I learned a few things about pre-production (from finishing the rest of the sneak on the lot from last week) and production. I also learned more about the history of film which was, again, interesting.

Problems I solved: This week I solved my problem with procrastination. Instead of doing all the assignments in one day/one sitting, I decided to complete and progress through parts of the blog post each day. I’m definitely going to attempt to continue this method.

“film chamber” by _sarchi is licensed under CC BY 2.0

Notes

The following material is from Wikipedia

Episode 1 – Birth of the Cinema[edit]

Introduction

• Saving Private Ryan (1998) dir. Steven Spielberg
  • The director makes us feel as if we are there
• Three Colors: Blue (1993) dir. Krzysztof Kieślowski
  • Cinema is an empathy machine
• Casablanca (1942) dir. Michael Curtiz
  • Too romantic to be classical.
• The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
  • Real classical movie
  • There is not rush in this story
  • Hollywood is not classical, Japan is classical
• Odd Man Out (1947) dir. Carol Reed
• Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
• Taxi Driver (1976) dir. Martin Scorsese
  • Visual ideas are what drive cinema
• The French Connection (1971) dir. William Friedkin

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

• Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
• The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
• Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
  • One of the first films shot
• Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
  • Audience was scared and thought that the train was real
• Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
• Sandow (1894) dir. William Kennedy Dickson
• What Happened on Twenty-third Street, New York City (1901) dir. George S. Flemingand Edwin S. Porter
• Cendrillon (1899) dir. Georges Méliès
  • Used filming magic/technique to make something disappear (visually)
• Le voyage dans la lune (1902) dir. Georges Méliès
• La lune à un mètre (1898) dir. Georges Méliès
• The Kiss in the Tunnel (1899) dir. George Albert Smith
  • One of the first to film in front of a train, creating a ghostly tracking shot, which became known as the phantom ride
• Shoah (1985) dir. Claude Lanzmann
• 2001: A Space Odyssey (1968) dir. Stanley Kubrick
• The Sick Kitten (1903) dir. George Albert Smith
  • One of the first close ups in cinema
• October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
• Once Upon a Time in the West (1968) dir. Sergio Leone
  • Close ups can be used to express many things
• The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
  • Wide screen cinema was born

1903-1918: The Thrill Becomes Story or The Hollywood Dream

• Life of an American Fireman (1903) dir. Edwin S. Porter
  • Editing was introduced
• Sherlock Jr. (1924) dir. Buster Keaton
  • Double exposure
  • Cuts to different setting
  • The Horse that Bolted (1907) dir. Charles Path
    • Used parallel editing instead of continuity editing
• The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
  • Reverse angle shot was born
  • Freedom to film at any angle
• Vivre sa vie (1962) dir. Jean-Luc Godard
• Those Awful Hats (1909) dir. D. W. Griffith
• The Mended Lute (1909) dir. D. W. Griffith
• The Abyss (1910) dir. Urban Gad
• Stage Struck (1925) dir. Allan Dwan
• The Mysterious X (1914) dir. Benjamin Christensen
  • Gorgeous photography
  • Cross cutting
  • Drawing on film
• Häxan (1922) dir. Benjamin Christensen
  • Unique/innovative lighting and effects
• Ingeborg Holm (1913) dir. Victor Sjöström
• The Phantom Carriage (1921) dir. Victor Sjöström
  • Double exposure used as a illusion of death
• Shanghai Express (1932) dir. Josef von Sternberg
• The Story of the Kelly Gang (1906) dir. Charles Tait
  • First feature length film ever made
• The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
  • First Hollywood feature
  • 180 degree line rule
• The Empire Strikes Back (1980) dir. Irvin Kershner
• Uses 180 degree rule
• Falling Leaves (1912) dir. Alice Guy-Blaché
• Suspense (1913) dir. Phillips Smalley and Lois Weber
  • One of the most innovative directors at the time
  • Split screen
  • Inventive shot of mirror
• The Wind (1928) dir. Victor Sjöström
  • Woman screen writer
• Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
• The House with Closed Shutters (1910) dir. D. W. Griffith
• Way Down East (1920) dir. D. W. Griffith
• Orphans of the Storm (1921) dir. D. W. Griffith
  • Visual softness
• The Birth of a Nation (1915) dir. D. W. Griffith
  • Racist
  • Black people were attacked because of the way they were portrayed
• Rebirth of a Nation (2007) dir. DJ Spooky
• Cabiria (1914) dir. Giovanni Pastrone
  • Moving dolly shots
• Intolerance (1916) dir. D. W. Griffith
  • Struggle of history
• Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
• Two story lines intertwine