Notes
The following material is from Wikipedia.
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
- iconic scene of naked man, very exposed and raw
- All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
- American film
- Ali: Fear Eats the Soul (1974) (a.k.a. Angst essen Seele auf) dir. Rainer Werner Fassbinder
- inspired by All That Heaven Allows, but without all the gloss
- uses tracking shot to show prejudice
- about darkness of human identity
- The Bitter Tears of Petra von Kant (1972) (a.k.a. Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
- also about darkness of human identity
- body language in film expresses tragedy
- inspired by All About Eve
- about objection
- “stole American cinema and rubbed its nose in the dirt”
- All About Eve (1950) dir. Joseph L. Mankiewicz
- Alice in the Cities (1974) (a.k.a. Alice in den Städten) dir. Wim Wenders
- Wenders saw himself in the main character of movie
- uses natural light, long lens, and melancholic music
- An Affair to Remember (1957) dir. Leo McCarey
- American film
- similar scene as in Alice in the Cities, except everything feels staged and is filmed in a studio, much less free-flowing
- 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
- least tense robbery ever filmed, focuses rather on relationship between two characters
- uses close-ups, and direct to camera eyelines to create intimacy between characters
- impressionist, women’s intimacy
- Burden of Dreams (1982) dir. Les Blank
- Arabian Nights (1974) (a.k.a. Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
- depicted sex
- Pasolini hated consumerist film
- Pasolini was murdered a year after this film was released
- The Spider’s Stratagem (1970) (a.k.a. Strategia del ragno) dir. Bernardo Bertolucci
- about fascism
- visually beautiful film
- focused on identity
- used dusk lighting
- The Conformist (1970) (a.k.a. Il conformista) dir. Bernardo Bertolucci
- about fascism
- bold use of perspective
- in this movie he is bringing visual beauty back, as in the past it was considered “too Hollywood”
- one of most influential movies of the 70s
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- inspired by The Conformist
- films an ugly event in gorgeous form
- Women in Love (1969) dir. Ken Russell
- films a sex scene as if it were a dance with a long lens, films horizontally so action is vertical, uncommon way of seeing action unfold
- Performance (1970) dir. Donald Cammell & Nicolas Roeg
- shot where two men’s faces dissolve together in editing which symbolizes how he is turning into the other man
- most imaginative shooting in the story of film: shot where man is shot and camera depicts bullet going through brain
- greatest 70s 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 w/ wide angle lenses to show space
- shows difference between outback and chlorinated pools, etc.
- Picnic at Hanging Rock (1975) dir. Peter Weir
- films in slight slow motion to create a sense of mystery
- editor decided to portray disappeared girls as ghosts
- My Brilliant Career (1979) dir. Gillian Armstrong
- about main character’s relationship with men
- female POV hinted at how gendered cinema would be later in Australia
- Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
- one of greatest documentaries ever made
- filmed over 17 years
- about company who dumped chemicals
- moment where woman is devastated about her parents’ deaths is the raw type of identity not seen often in Japanese cinema
- The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
- films w/ handheld camera
- uses slow-motion to accentuate motion of fight
- Black Girl (1966) (a.k.a. La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
- Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
- popular movie images at the time
- La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
- dreamlike
- more accurate portrayal of an African man
- looks at Algeria through a feminist lens
- Xala (1975) dir. Ousmane Sembène
- about the move from colonial to post-colonial identity
- shows a car being washed in Avian water to show decadence
- comedic
- Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
- Badou Boy (1970) dir. Djibril Diop Mambéty
- helped create African modernism
- uses rhythm abstractly
- Hyènes (1992) (a.k.a. Hyenas/Ramatou) dir. Djibril Diop Mambéty
- woman introduces capitalism to villagers
- showed an anger at consumerism
- Kaddu Beykat (1975) (a.k.a. Lettre paysanne) dir. Safi Faye
- Faye was first important female African filmmaker
- shows everyday life
- Harvest: 3,000 Years (1976) (a.k.a. Mirt sost shi amit) dir. Haile Gerima
- uses long lenses, makes viewers feel distant
- colonial power told like a myth
- Umut (1970) (a.k.a. Hope) dir. Yilmaz Güney & Serif Gören
- ripped clothing shows purity
- illiterate man searching for treasure to feed his family
- Yol (1982) dir. Yilmaz Güney & Serif Gören
- man released from prison for 5 days
- long lenses, wide open spaces
- uses still-life shots of confrontation
- uses natural framing of windows and doorways to show imprisoned characters
- The Battle of Chile (1975/1977/1979) (a.k.a. La batalla de Chile) dir. Patricio Guzmán
- about identity and betrayal
- style of filmmaking that makes you feel in the center of action
- filmed from rooftops with handheld cameras
- supported by CIA
- no gloss, very real
- The Holy Mountain (1973) (a.k.a. La montaña sagrada) dir. Alejandro Jodorowsky
- identity and psychedelics
- odd filming similar to the wizard of oz
- man climbs into the maze of his own mind in a way
- “stripped cinema naked”