This is an old revision of the document!
Table of Contents
Films
The Birth of Cinema
- The Dreyfus Affair (1899) - Georges Méliès
- A Trip to the Moon (1902) - Georges Méliès
German Expressionism
German Expressionism consisted of a number of related creative movements in the Weimar Republic. German Expressionist films produced in the Weimar Republic immediately following the First World War not only encapsulate the sociopolitical contexts in which they were created, but also rework the intrinsically modern problems of self-reflexivity, spectacle and identity. Films made in this period all hint at the inevitability of the rise of Nazi Germany.
- The Cabinet of Dr. Caligari (1920) - Robert Wiene
- From Morning to Midnight (1920) - Karlheinz Martin
- The Golem (1920) - Paul Wegener & Carl Boese
- Destiny (1921) - Fritz Lang
- Dr. Mabuse, the Gambler (1922) - Fritz Lang
- Nosferatu (1922) - F.W. Murnau
- Schatten (1923) - Arthur Robison
- Greed (1924) - Eric von Stroheim
- The Last Laugh (1924) - F.W. Murnau
- Metropolis (1927) - Fritz Lang
- M (1931) - Fritz Lang
- The Testament of Dr. Mabuse (1933) - Fritz Lang
Surrealism
Surrealist cinema is a modernist approach to film theory, criticism, and production with origins in Paris in the 1920s. The movement used shocking, irrational, or absurd imagery and Freudian dream symbolism to challenge the traditional function of art to represent reality. Related to Dada cinema, Surrealist cinema is characterized by juxtapositions, the rejection of dramatic psychology, and a frequent use of shocking imagery.
- Entr'acte (1924) - René Clair
- The Seashell and the Clergyman (1928) - Germaine Dulac
- L'Étoile de mer (1928) - Man Ray
- An Andalusian Dog (1928) - Luis Buñuel
- The Fall of the House of Usher (1929) - Jean Epstein
- The Mysteries of the Chateau of Dice (1929) - Man Ray
- The Golden Age (1930) - Luis Buñuel
- The Blood of a Poet (1932) - Jean Cocteau
Socialist Realism
Socialist realism is a style of idealized realistic art that was developed in the Soviet Union and was imposed as the official style in that country between 1932 and 1988, as well as in other socialist countries after World War II. Socialist realism is characterized by the glorified depiction of communist values, such as the emancipation of the proletariat.
- Battleship Potemkin (1925) - Sergei Eisenstein
- Strike (1925) - Sergei Eisenstein
- Mother (1926) - Vsevolod Pudovkin
- The End of St. Petersburg (1927) - Vsevolod Pudovkin
- October (1928) - Sergei Eisenstein & Grigoriy Aleksandrov
- Zvenigora (1928) - Aleksandr Dovzhenko
- Arsenal (1929) - Aleksandr Dovzhenko
- Alexander Nevsky (1938) - Sergei Eisenstein
- Ivan the Terrible: Part 1 (1944) - Sergei Eisenstein
- Ivan the Terrible: Part 2 (1958) - Sergei Eisenstein
Italian Neorealism
Italian neorealism is characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors. Italian neorealism films mostly contend with the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice, and desperation.
- Ossessione (1943) - Luchino Visconti
- Rome, Open City (1945) - Roberto Rossellini
- Shoeshine (1946) - Vittorio De Sica
- Germany, Year Zero (1948) - Roberto Rossellini
- The Bicycle Thief (1948) - Vittorio De Sica
- La Terra Trema (1948) - Luchino Visconti
- Stromboli (1950) - Roberto Rossellini
- Miracle in Milan (1951) - Vittorio De Sica
- Rome 11:00 (1952) - Giuseppe De Santis
- Europe '51 (1952) - Roberto Rossellini
- Umberto D. (1953) - Vittorio De Sica
- Journey to Italy (1954) - Roberto Rossellini