• Abel Gance according to Cousins was the leading exponent in French Impressionist Cinema.
• Abel Gance directed Napaleon in 1927 and is seen as one of the most innovative films of the silent era.
•  Gance was worried the film’s final part  would not have the proper impact by being confined to a small screen. Gance thought of expanding the frame by using three cameras next to each other. This is considered to be the most well-known of the film’s several innovative techniques.
• A modernist approach what originates from 1920s Paris. The movement used shocking, irrational, or absurd imagery to challenge traditional function art to represent reality.
• Luis Bunuel and Salvador Dali were the leading directors in the surrealist silent era cinema.
•  Luis Bunuel directed Un Chien Andalou(1929)considered the best short film of all time.
•  Marcel Duchamp’s directed Anemic Cinema (1926)

• Buster Keaton was well known for his work in the silent film era as he was most notable for his comedy pieces where he performed it through different actions. Charlie Chaplin was similar to Keaton as he as well broke into the film industry through comedy in silent film especially with his trademark character the tramp what rose to worldwide fame.  As was Harold Lloyd who was well well known for his bespectacled Glass character. Overall all three were seen as the most influential and important comedians in the silent film era.
• Examples of their films:
• Sherlock Jr. 1924-Buster Keaton
• The Great Dictator 1940- Charlie Chaplin
• Hot water 1923-Harold Lloyd
• The French equivalent of Chaplin was Jacques Tati while Toto was the Italian equivalent.

1. Workers leaving the Lumiere Factory in Lyon in 1895 what was 45 seconds long and was directed by Louis Lumiere.
2. Phantom Rides was applied because the position of the camera meant that only the track and scenery could be seen and the movement appeared to be coming from an invisible force.
3. The Sick Kitten was significant because director George Albert Smith editing technique with the mid shot to the close up. While Edwin S. Porter’s Life of an fireman is significant through his continuous narrative over seven scenes in a total of nine shots.
4. Florence Lawrence is referred to as the first movie film star.
5. Birth of a Nation 1915 was directed by D. W. Griffith and is controversial in today’s world through its depiction of African-Americans and how the KKK is idolized in the film as heroes.
6. The Danish film industry is what Cousin sees as the best film industry in the 1910’s.
7. Haxan by Benjamin Christensen, The Phantom Carriage by Victor Sjostrom are two films and directors who he sees as remarkable.

Breathless is 1960s New Wave French Crime drama written and directed by Jean-Luc Godard. One of the most earliest attempts of French New Wave cinematography with other attempts from a year earlier from Francois Truffaut’s drama The 400 Blows and Alain Resnais’ romantic drama Hiroshima, Mon Armour. Yet his one brought more international acclaim to this new style of filmmaking by unusual it was. The New Wave style was emerged in the 1950s as people in the film industry wanted to reject the traditional film culture and create there own form of film through different techniques and experimentation while bringing topics of the era into their films. New wave is seen as revolutionary in film history by using small and portable equipment while filming in a documentary type of style what helped creating more realism in those films especially. Godard was also follower of auteur theory what came to prominence in the 1940s what was theory that sound and editing could create a more powerful message than plot. Cultural influences went into many other artistic forms such as music with Miles Davis’ Milestone, and Jack Kerouac On the Road as well as going into art with Jackson Pollock with Number 9. This this film was also made in during the Algerian War what pushed the movement even further into the spotlight of film with Goddard even producing a film 1960 The little soldier on the events of the war, it was banned until 1963 as it showed the torture the French had used. This showed further rebelling New Wave artists who wanted involve current events into their films.

Breathless and New Wave as a whole inspires many work clearly, however this seemingly had a big affect on crime films, Biopics and any type of drama. As these genres would never become as realistic as they were without New Wave. One crime film likely that wouldn’t of been as close as a success  would of been Brian De Palma’s 1983 Scarface that uses New Wave techniques such bringing era relevant topics such as Cuba refugees while the cinematography feels some what similar to the style, he also incorporates auteur theory into his work. It may of also had an influence on how Tony is left by his wife in the movie and that he he dies at the end while refusing to go down. Just like in the film where Patricia no longer wants to be involved and Michel dies when refusing to go to jail. It may of had influence on movie deaths such as in James Mangold’s Logan the impact of final words occur in both. Florian Henckel von Donnersmarck’s The Tourist plot may have been heavily inspired by Breathless, with a runaway criminal finding love. The biggest influence from this style is Quentin Tarrantino who clearly focuses less on story in all his movies and uses everything else in the movie to tell  more of a plot. Can be seen in movies such as Kill Bill or The Hateful 8 where focus on story is less focused on and so makes it more unique to the class of directors Tarrantino is in. Pulp Fiction is another film by Tarrantino inspired by New Wave by having a very similar style while in both movies they use smoking scenes to create more character depth as they are similar to the interactions in Breathless. The hand hold technique of cameras changed cinema clearly though as likely inspired the hand held camera movement in films such as the Blair Witch Project and Cloverfield where they are filmed by handheld camera. This brought more realism and fear to the scenes in those films as they were so real as it mostly used what were around them in filming, and less CGI effects.

Strike is a 1925 Soviet silent film  and directed by film pioneer Sergei Eisenstein who was releasing his first feature film. A unfinished project supposed to be in seven parts but was released as six smaller parts in one part of the uncompleted series. Sergei Eisenstein is famously the creator of film montage and his most famous being Battleship Potemkin. He would later learn other continents film techniques in later life but where he originally learned film was at the VGIK a film institute in Moscow founded in 1919 by Vladimir Gardin a year after the Bolshevik takeover of the Government and is the oldest film institute. At the time of release Vladimir Lenin had just died a year before and Stalin was starting to try to take power so there wasn’t any censorship on this piece of work. However the political views of the time still come through by still strong hate towards the Tsarist regime before 1917. This new regime led to the Soviet Fine Art movement what was either propaganda or way telling views during the civil war. Examples of this is before the Bolshevik takeover the Supremacist Composition 2 by Kazimir Malevich or after the civil war the book “Book in all branches of Knowledge” by Alexander Ronchencho.

Intellectual method is used in both the beginning of the movie and end by linking people to animals. In the earlier scenes when showing the characters and connecting them to animals by showing it then the person copying traits as a way to show there nicknames. Its also used at the end where the cow being slaughtered is used to imply that all the people running are being executed. What Eisenstein gets from this affect is showing emotion, and character in a silent film. By giving examples of animals such as the cow it suggests to the audience the people are screaming in pain, without showing the faces or having to hear the screams. Tonal Editing method is used very interestingly in this movie by how at the beginning they used shadows and light to show the hard of the workers as well as showing the dark gritty environment they are in. The shadows in the scene is to show the Soviet audience at the time, the harsh realities of being under Tsar as its used as the shadow of the past. The over tonal that brings together metric editing, rhythmic montage and  tonal editing method together c an be all seen in the actual strike through the pace of it as it adds drama to the scene, as well as the tone constant throughout to match the speed. While the lighting changes between the darkness behind the door and the brightness outside with all the workers. Sergei likely did this to imply to the audience outside is hope while inside working is doom. The transition in the movies are very smooth and well done between scenes as they Eisenstein uses montage techniques such as instruments to a moving group of people going up a hill. The pace of the whole movie as a whole can be seen as a way to bring the theme in patience to the core of the entire film as a whole.

Strike has inspired a lot of films through many different means, even it is small. One influence many would not notice is by the similarities in the opening  between this films comparing people to animals and Sergio Leone’s The Good, the Bad, and the Ugly where he introduces the characters by the words. This scene clearly has inspired the latter by how comparable they are. Though the main clear inspiration from Strike is Rocky and The Karate Kid where John G. Avildsen has been inspired to create films that support certain themes from Strike while using certain Sergei Einstein techniques such as the montage scenes in both movies for training to create the emotion of succeeding and discovering potential. Collectivism is one of the main themes in this film and it likely inspired the genre, especially the Bruce Lee movie Fists of Fury where Lee’s character seeks both revenge and respect from a rival Japanese school who is trying to destroy his school, while insulting Chinese culture in the process. The ending with the slaughtering of the cow seems to be a direct influence to the ending of Apocalypse Now identical ending of the Slaughtering of the water buffalo. Ryan Coogler the director of Creed takes inspiration from montage while in Black Panther he uses the ideas of collectivism.

The Owl

The Cabinet of Dr Caligari is a German 1920 silent horror movie released in 1920 directed by Robert Weine and is seen as a important film of expressionist cinema in Germany. This film was created and released in 1920 what was 2 years after the end of WW1 what meant the memories felt fresh what led to the expressionist art movement in Germany where work was considered bleak and depressing as a way to represent the condition of the country what had been suffering from crisis in the new Weimar Republic.  The script was also inspired from writers Hans Janowitz and Carl Mayer own experiences with the military in WW1 who became pacifists. This film connects to these themes and events by bringing all of these together to create a final product what becomes a message from the director like all expressionist work what states look what war does. This film was produced by Decla-Bioscop AG a independent German film studio, what wasn’t apart of UFA what was the main studio in this period of time in Germany after it being founded in 1917. Erich Pommer was one the producers on the film, who was seen at that point as one of most powerful people in film in Germany and Europe. He was also apart the silent German expressionist movement era in film. The props and sets took 2 weeks to finish and were designed by Herman Warm, Walter Reimann, Walter Rohrig. They used many different eras of history in their work, this was done to show the importance of film design to German film in the 1920s.

Weine’s work is innovative by how he captures horror throughout the film by creating unease through visuals and unpredictability through its plot. The stage in all scenes use backgrounds what both makes the setting seem bigger but however this effect also adds to this horror genre as it gives a sense of claustrophobia through unease. This gives the style of the setting a unique factor what gives the movie the factor of horror across the whole movie. Also using paint as shadows to cut cost was very helpful in creating a more unusual setting by having a more equal amount  in contrast in black and white scenery, this especially used well in the kidnap scene where its the room is pretty much covered in shadow except for the area surrounding the window. By also making the deign of the set more rigid and diagonal it makes it more of a horror movie by making the audience feel unease, as it really limits at the same time as making you not want to be apart of the world. Costume and make-up also builds Cesare as horror figure by making him look unlike everyone by making him seem like he is dead, by doing that it follows certain themes that impact the twist at the end even more. The best scene in the movie where Cesare is seen as a horror figure is when he climbs the building with damsel in distress what encapsulates all feelings the antagonist in horror movie has in these movies. Cinematography is used with the stage well as it keeps as little space as possible as Weine seems to do it purposely to keep that claustrophobic feeling to the whole movie. He is uses the closing of an eye as a camera effect well to indicate the end of the scene and when cutting to the next, as it again follows the idea this is a dream. It also creates emotion quite well when showing the shock and sadness when one of victims family finds them dead. It gives so much through the iris closing right on the shocked members face, focusing on lots of different emotions all at once. In almost all shots of the film he covers part of the side of the camera to firstly to limit even more space but to make it seem the environment is fading, to make it look it more like a nightmare by keeping it as dark as possible. As its black and white and silent the composition as well as aspect ratio makes it seem more of a horror as everything is so dark while its missing the sound what adds a certain predictability to films what helps it massively, as you can’t predict anything first time after viewing.

Robert Weine legacy has run through cinema with his style especially being lasting effect. The most obvious inspiration from this is Tim Burton who creates films very similar to Weine with a Gothic twist to all is movies what is that it creates unease even if it is not supposed to be a horror or thriller with examples of this being Batman( a superhero movie) and Planet of the Apes( a sci-fi film). It is clear that there is inspiration in visuals and dark themes in both directors work. Burton even took it further in Edward Scissorhands and Dark Shadows by making Johnny Depp’s characters look nearly identical to Cesare. This likely led to other directors making Depp look like Cesare by making him look dead in the eyes such as in the Pirates franchise. Weine has also had an obvious effect on horror movie settings and locations, as in this film mostly due to small studios but uses the small space in the screen to create that claustrophobic and enclosed environment in film that makes scenes more intense and dramatic as their is less space for the cast in the space what further limits what can happen in a scene. It can also be seen in the neo-nor film Blade Runner what uses claustrophobic environments to show its theme of over population.  One more aspect Cesare’s character was the theme of death and the film the Crow seems to be partly pay homage to Weine’s character as Brandon Lee’s Crow is an obvious copy of Cesare in look and what he represents what follows the expressionist genre quite strongly. Something what might not be easily picked up but the twist at the end likely inspired M. Night Shyamalan who is famous for twist endings and lots of other directors who use twists for endings. One last inspiration what likely came from this film what has become some sort of a cliche in film is the evil scientist being the main antagonist of the film. This probably helped make Dr. Frankenstein become more of a villain than a tragic character like the books, and this has been replicated ever since, such as in Alien 3.