Films 1880 - 1928 in few words

 Study Sheet for all the Midterm Films

Rename 1800-1904 Invention & early cinema

The Arrival of a Train at la Ciotat Station (Auguste & Louis Lumière, 1895)
Roundhay Garden Scene (Louis Le Prince, 1888) guy disappeared about 4 people walk around
    The oldest recorded short film dates back to 1888 called, Roundhay Garden Scene.
Blacksmithing Scene (W. K. L. Dickson & William Heise, 1893) US 3 guys and beer
     firt kinetoscope film shown in public exhibition on May 9, 1893  showing actors in a film.
     1st Staged Narrative in Film The 1st commercially exhibited film and the 1st staged
     scene with actors performing a role, Blacksmith Scene is a Kinetoscope film first
     shown on May 9, 1893.  It was filmed entirely within the Black Maria studio at West
     Orange, New Jersey, in the USA which is widely referred to as "America's First
     Movie Studio"

Workers Leaving the Factory (Auguste & Louie Lumière, 1895)
  It was shown in public at a meeting of the Société d’Encouragement pour l’Industrie Nationale in
  Paris on March 22.
Baby's Meal (Auguste & Louie Lumière, 1895) wife in striped shirt, tea set and booze Auguste
  Lumiere and his wife
Rough Sea at Dover (Birt Acres, 1896) England r.w. paul blurry ocean right
The Waterer Watered (Auguste & Louie Lumière, 1895) little kid in black on hose – triangle trees
Sandow (W. K. L. Dickson & William Heise, 1896) US – Edison strong man – Sandow  flex
Egypt: Panorama of the Bank of the Nile (Alexandre Promio, 1896)
    (Promio a director for Lumiere – placed camera on tripod – panning movement travel films.)
    lot of water – palm trees – land kind of far.
A Trip to the Moon (Georges Méliès, 1902)
  bought a projector from r.w.Paul but made his own camera. used hand-applied tinting.
  elaborately designed mise-en-scène
Scenes from My Balcony (Ferdinand Zecca, 1901) – worked for Pathe
   shot things looked like through telescopes – view of couple in attic over tops of paris – woman
   undresses
Twins' Tea Party (R. W. Paul, 1896) Brighton School 2 girls with big white hats, tea cups – hitting
   crying
View from an Engine Front—Barnstaple (Warwick Trading Company, 1898) Brighton School
    example of ‘the phantom ride’ camera on a vehicle like lumiere’s did. Train tracks cute old bldgs
    n stations
Explosion of a Motor Car (Cecil Hepworth, 1900) ENGLAND Brighton 
   used special effects trick films. On street with fence and weeds, 4 people on track constable
   falling parts  lots of fencing cop catching pieces
The Big Swallow (James Williamson, 1900) The Brighton School
   special effect of falling into guys mouth. Guy with glasses takes them off coming toward camera
   grainy film up to
   lips, opens mouth eats camera man laughs 
Mary Jane’s Mishap (G. A. Smith, 1903) ENGLAND
   special effects – distant shots and several cut-ins to medium shots  of face. Simple room kitchen
   in middle
Life of an American Fireman (Edwin S Porter, 1903) Edison’s director
 1^st longer film special effects – thought balloon
 close-up shows hand pulling alarm
 several shots, mixing studio and location filming
 two shots that show the same action from two vantage points In the bedroom & outside house.
The Great Train Robbery (Edwin S. Porter, 1903)
     used 11 shots. From 1902 to 1905, Porter was one of many filmmakers who contributed to an
     industrywide concentration on fiction filmmaking. Telegraph office, mail car, hold up of
    passengers grainy, ahold up No film of pre-1905 as popular
     dancing, cowboy hats, forest chase. Steal the mail. 2 white horses 1 black

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The International Expansion of the Cinema (1905-1912)

 

The Birth, Life, and Death of Our Lord Jesus Christ (Alice Guy Blaché, 1906)
     Huge columns, the torture – action in the middle, tapestry down middle sheet on
     head
The Fall of Troy (Giovanni Pastrone, 1911) men in togas. Lots of columns on left
    incense rt/left
Lion Hunt (Viggo Larsen, 1907) killed a lion black guy in plaid – hunters in white and
    black boots Nordisk’s breakthrough came in 1907 with Lion Hunt, a fiction film about a safari.
    Because two lions were actually shot during the production, the film was banned in Denmark,
    but the publicity generated huge sales abroad. 
The Four Devils (1911, Robert Dinesen and Alfred Lind) and fallen acrobat purple tint,
    pink yellow
The Great Circus Catastrophe (Eduard Schnedler-Sørensen, 1912). Horse Falls Yellow
   tint
   square
   structure, crowd
The Story of the Kelly Gang (Charles Tait, 1906) lasted an hour FIRST FEATURE
   FILM cowboys Australian outlaw Ned Kelly 
   black one white office. Officers in round hats. Wood house then tent
The Haunted Hotel (J. Stuart Blackton, 1907) Vitagraph -bread slice puppet pushes
    teapot to pour rumplestilksin he goes to be puffy outside house with moving parts
Fantasmagorie (Émile Cohl, 1908)  Gaumont B&Wlittle puppet / movie theater
    elephant/ REAL hands/hat
Little Nemo (Winsor McCay, 1911) BET smoking in tux /Dragon b&w and color.
    Racist. Real Hand  huge boxes of ink and paper  3 puppets stretch last puppet goes
    off with princess on dragon old men at the end and hand
The Revenge of a Kinematograph Cameraman (Ladislav Starevicz, 1912) Mr. Beetle
   & Grasshopper
The Arrival of a Train at la Ciotat Station (Auguste & Louis Lumière, 1895) the
  Lumière cameraman has chosen a vantage point that emphasizes many planes of activity.
Afgrunden (Urban Gad, 1910) DENMARK woman blk kills man men with rnd hat
  manboots wtable
A Tale of Two Cities (William Humphrey, 1911) hanging camera angles steps up black
   coat
The Runaway Horse (Louis J. Gasnier, 1907)- Pathé’s Early crosscutting horse fat. man deliver
    basket laundry wine served
Rescued by Rover (Cecil Hepworth & Lewin Fitzhamon, 1905) baby rescue Contiguity
   Editing: In some
   scenes, characters move out of the space of one shot and reappear in a nearby locale.
Alma’s Champion (1912, Vitagraph), 2 train scene and note. Engine hat, lunch, alma,
   conductor one guy leather jacket and baseball hat. helps lady on a train.
The Lonely Villa (D. W. Griffith, 1909) – hostages phone lady blk top white long
   skirt/girlswht dres mom long necklace little girls bows in hair
   Griffith is the early director most often associated with the development of crosscutting
The Painted Lady (D. W. Griffith, 1912) ugly girl kills He wanted to replace the typical
   pantomimic dad has long beard and hat - sister big hat lots of makeup both wear bows
   gestures of the era with a more subtle acting style lots of men in straw hats lillian Gish
L’Assommoir (Albert Capellani, 1909) Capellani was hired by Pathé around 1905, ran it
   strange garden party an adaptation of Zola’s naturalistic novel lady in black. Waiter.
    Long
   dresses hats. Lady in sash, organ grinder guy eating black bolo hat
Germinal (Albert Capellani, 1913) germy film in the mines. Man side bag. Old man
   cane capellani  nature films  funny hat
Falling Leaves (Alice Guy-Blaché, 1912) consumption little girl bw/blue/piano
The Assassination of the Duc de Guise (Charles Le Bargy and André Calmettes, 1908)
   (The King's guards (the forty-five) stab Henri de Guise.
    Black and white - fancy palace like setting. bedchamber. Leaving one room and
    arriving in   (men in tights - hats with feathers)
    another. Change of camera location - twice – curtained doorways
Pinocchio (Giulio Antamoro, 1911) orange tint pointy hat and nose…old man boots white shirt tie
   wig
   runs into town light yellow tint. Napoleon like guy.. dresser and bed come down

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National Cinemas, Hollywood Classicism, and World War I (1913-1919)

The Student of Prague (Stellan Rye, 1913). GERMANY – The most successful and
  famous
  Autorenfilm  popular writer Hanns Heinz EwersIn blue tint actor appears and
  disappears sitting on a porch
  In following scene, exposure of separate portions of the same shot during filming allowed two
  characters, both played by Paul Wegener, to confront each other.
  Cabiria (Giovanni Pastrone, 1914) – Cabiria’s tracking shots were more influential,
  however, and
   the “Cabiria movement” became a common technique in films of the mid-1910s.feeding babies
   to demon.
The Dying Swan (Evgenii Bauer, 1917) – RUSSIA kills ballerina  brooding melodrama.
  skeleton in room guy has black beard
Father Sergius (Yakov Protazanov, 1917) – RUSSIA slutty woman tries to seduce priest
  adaptation of Tolstoy’s novel made in 1917 between the February and October Revolutions and
  released in early 1918.  snowy out ugly bald head and long beard.
The Perils of Pauline (Louis J. Gasnier, 1914)example of a serial – from Pathé in 1914
   up in balloon lands on a cliff Pathe huge festival scene 
Fantômas (Louis Feuillade, 1913) – Feuillade. Most prolific Gaumont ghost hold out hands
   to be
  handcuffed ghost in tux
Atlantis (August Blom, 1913) – Nordisk’s top director of teens. man w/out arms eight reels- Denmark guys going to the movies box seat - man no arms
Life of an Evangelist (Forest Holger-Madsen, 1914) Nordisk. cityscape and strong backlighting eats a simple meal
Witchcraft through the Ages (Benjamin Christensen, 1922)Danish. witches in blue
   priests laugh at
   the end kissing satan’s butt
Thomas Graal’s Best Film (Mauritz Stiller, 1917) SWEDENNurse gets drunk n crazy
   to be a star
Sir Arne’s Treasure (Mauritz Stiller, 1919) non-comedy coffin through ice
Ingeborg Holm (1913), SWEDEN Sjöström’s early masterpiece,  woman give up boy
 The staging.  mom wearing white apron kid funny puffy hat and shorts
 with the heroine’s back to the camera displays Sjöström’s refusal to overemphasize emotions.
The Outlaw and His Wife (Victor Sjöström, 1917)SWEDEN yellow sheep stealing
 Sjöström in film       funny long hats like sleeping hats sheering sheep short pants
 hero Sjöström was one most important directors of the entire silent era. 1 action consequences.
The Cheat (Cecil B. De Mille, 1915) Japanese guy – paper wall lighting on part of the
 scene, woman in black outfit black hair bloody hand
 motivated as coming from a specific source. The most influential film
Civilization (Thomas H. Ince, 1916) US continuity script jesus show in cell walks king
  around king has pointy hat. 
The Birth of a Nation (D.W. Griffith 1915) American Civil War 
Intolerance (D. W. Griffith, 1916) blue – red – purple. last part of Christ’s life, the St.
  Bartholomew’s Day Massacre in France, gangster activity. train and Babylon chariot
  cradle racing car 8 colored film train car yellow blue
The Immigrant (Charlie Chaplin, 1917) On boat card games russian at restaurant in NY
Shoes (Lois Weber, 1916) Eva Mayers. One of America’s most prolific female directors, Lois
  Weber, came to prominence in the 1910s. Scenes in shop kitchen or fancy club blue cradle
But My Love Does Not Die! (Mario Caserini, 1913) Diva Films
  Diva films remained popular during the second half of the 1910s and then quickly declined in the 1920s. long hair - a strange ear head dress in front of glam theater  backstage skimpy outfit
The Last of the Mohicans (Maurice Tourneur & Clarence Brown,1920) Joseph Conrad novel
  tent Indians and Caucasian women in capes   body paint  fur hats
Hell’s Hinges (William S. Hart & Charles Swickard, 1916) good bad man pastor

XxxxxxxxxxxxFRANCE

The Smiling Madame Beudet (Germaine Dulac, 1923) Curved mirror distortion
   imagining tennis guy gun fake suicide faust tickets friend with large woman
The Three Musketeers (Henri Diamant-Berger, 1921–1922) large hats feathers
   capes
The Crazy Ray (René Clair, 1924)  (fantasy fic – people are paralyzed by a ray) orange
  in a cafe drinking champagne people frozen in cafe
The Imaginary Journey (René Clair, 1926) My worst nightmare -waking up in a
   museum
Le Petit Café (1919, Raymond Bernard). Didn’t see. it was a comedy lotto worker
La Dixième Symphonie (Abel Gance, 1918) woman with flowers/piano/conductor
Rose-France (Marcel L’Herbier, 1919) Woman in wedding dress light sees guy
  centering the heroine as if in a traditional triptych painting.
El Dorado (Marcel L’Herbier, 1921) Spanish Bar Flamenco dancers orange film villagers
Napoléon (Abel Gance, 1927) Josephine – purple filters, she imagines him bride
  without veil flowers around canopy bed. napoleon pointy nose she wears earrings
   also war with triptych huge horizontal soldiers with tents 
Coeur Fidèle (Jean Epstein, 1923) carnival unhappy streamers on clothes
La Roue (Abel Gance, 1922) = The Wheel train – crazy conductor
L’Inhumaine (Marcel L’Herbier, 1924) red – scientist ugly lady feather hat
   clock art deco 

Xxxxxxxxx germany

Madame DuBarry (Ernst Lubitsch, 1919) Spectacle  French Revolution orange red nice
   villa crowd captures a noble lots of guns and lots of people horses x shirts 
The Eyes of the Mummy Ma (Ernst Lubitsch, 1918) Egypt  Also spectacle white hat
The Cabinet of Dr. Caligari (Robert Weine, 1920) window chase carnival freak
Siegfried (Fritz Lang, 1924) – knight in court – symmetry woman bowl to drink
Der Schatz (G. W. Pabst, 1923) saggy house smoke door
Raskolnikow (Robert Weine, 1923) leaning buildings/lamppost – moneylender watch
Kriemhild’s Revenge (Fritz Lang, 1924)Lady with Crown and geo head scarf braids –
  swear on sword treasure in the sea  snow geo dress big knight shingles
Tartuffe (F. W. Murnau, 1925) Staircase – guy reading rejecting woman z& high shot
  staircase
Nosferatu (F. W. Murnau, 1922) Sleep- walking Nosferatu’s shadows woman
  nightgown short sleeve curly hair
Sylvester (Lupu Pick, 1923) KAMMERSPIEL chamber-dramaWife gets crazy. Get
 OUT. him with mom new years mustache lamp
Backstairs (Leopold Jessner, 1921) KAMMERSPIEL waking up – postman and maid
The Last Laugh (F. W. Murnau, 1924) doorman fired very sad – rich trumpet drunk
  whistle also rich and drunk later most famous kammerspiel santa look drinking
The Street (Karl Grune, 1923) NEW OBJECTIVITY guy conned by woman – beautiful
  club bolo
  hat swirling sees wife in ring…
Secrets of a Soul (G. W. Pabst, 1926)new objectivity variant – Freudian dream – man in
  pjs floats in air man in hunter hat boat in a canal lillies baby knife stabbing wife
The Love of Jeanne Ney (G. W. Pabst, 1928) new objectivity shoe/wild café scene/book
  on phone guy smokes in a funny pipe women dancing on table kosak hat side part
Metropolis (Fritz Lang, 1927) UFA’S LAST EX W/ FAUST the Complete Metropolis released in 2010
  The production of Expressionist films was most intense between 1920 and 1924.
  Narrative - Set in Past or Exotic loctions - Horror & Fantasy
  In a reversal of this emphasis upon the past, the last major Expressionist film,
  Metropolis, is set in a futuristic city 

Xxxxxxxxxx RUSSIA

Battleship Potemkin (Sergei Eisenstein, 1926) overlapping editing mutiny by sailors
   oppressed by their
   Tsarist officers; Commissioned in 1925 by soviet govt 1917 failed revolution Selznick raved
Engineer Prite’s Project (Lev Kuleshov, 1918) KULESHOV the falling hanky – lady
Recreation of the Kuleshov Experiment/Effect (Dave Monahan)
Cigarette-Girl of Mosselprom (Yuri Zhelyabuzhsky, 1924) casting in theater
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (Lev Kuleshov, 1924) skinny guy fur coat military parades
The Magnanimous Cuckold a play 1922 meyerheld
Storm over Asia (Vsevolod Pudovkin, 1930) midshots of soldiers pointing guns in diff directions in two lines
The House on Trubnaya (Boris Barnet, 1928) Elliptical cutting action left out girl with goose – trolley she looks at dolls ducks
Strike (Sergei Eisenstein, 1925) – nondiegetic insert bull. Inkwell, map, carnage
Mother (Vsevolod Pudovkin, 1926) prisoner, letter, ice, baby laughing and smile guard called. letter
October (Sergei Eisenstein, 1928) In the name of god and country – idols, metals, incense
  - great example of Nondiegtic shot makes extensive use of intellectual montage.
My Grandmother (Kote Mikaberidze, 1929) calendar, stomp, typists in circle doors
Arsenal (Alexander Dovzhenko, 1929) Striking Juxtapositions train struggle low angles 
  slant of
  train accordion. Montage films avoid conventional chest-height, straight-on framing
   and utilize more dynamic angles. Low-angle framings place buildings or people 
   against a blank
   sky, making characters look threatening or heroic.
  6)Canted or decentered framings dynamize the image.
The End of St. Petersburg (Vsevolod Pudovkin, 1927) Neck down shots - to satirize
    uniforms –
   people sitting
Earth (Alexander Dovzhenko, 1930) emphasized vast farmlands of the Ukraine  Cows,
  people sky
Man with a Movie Camera (Dziga Vertov, 1929) split-screen framing and
   superimpositions.
   people, movie, trolley, spr imp camera, split bldg
Old and New (Sergei Eisenstein, 1929) Special effects to make a point Woman
  sleeping – big cow
  over field how important this one animal has been to building farm

A note i found about Pudovikin:
To the trio of Pudovkin’s films considered his best – Мat (Mother, 1926), Konets Sankt-Peterburga (The End of Saint Petersburg, 1927), and Potomok Chingis-Khana (Storm over Asia, 1928) – it is high time we added Dezertir (The Deserter, 1933) and made the whole thing a quartet.

FILMS

The Marriage Circle (Ernst Lubitsch, 1924) woman w apron black short hair Light
   from back. Flowers around top of her gown dress. She sets up drinks yr ill. She has
   a crush on doctor. Her husband has a moustache and sees two drinks. Bow tie.
Just Pals (John Ford, 1920) – little boy drowning cats little kid and grown up
Way Down East (D. W. Griffith, 1920) OT farm girl old folks, soft-focus
   cinematography, glamorous shots – Lillian Gish at Night and close ups
The Four Horsemen of the Apocalypse (Rex Ingram, 1921) graveyard, valentino
    alice terry nurses hat
Why Change Your Wife? (Cecil B. De Mille, 1920) Boring wife with glasses sexy dress
   man in tux dreams of another record
The Ten Commandments (Cecil B. De Mille, 1923) people around monuments walking
Orphans of the Storm (D. W. Griffith, 1922) Lillian and Dorothy Gish Griffith greatest post war era
    two sisters in paris one arrested other homeless
Blind Husbands (Erich von Stroheim, 1919) swiss mountaineering soldier w/hat cig and tight
   pants flirting with wife in black shawl and short hair.
Greed (Erich von Stroheim, 1924) desert yellow screen old guy donkey shooting gold
Ben-Hur (Fred Niblo, 1925) chariots, Rome’s Circus Maximus
The Big Parade (King Vidor, 1925) girl with head scarf looking for bf off to war helmet
Wings (William Wellman, 1927) running on land from airplanes, shots in air clara
   bow it girl. Plane hits house
The Mark of Zorro (Fred Niblo, 1920) Simple white stucco lots of horses swords guns
The Iron Horse (John Ford, 1924) railroad blocked by Indians
The Unknown (Tod Browning, 1927) guy with no arms
Underworld (Josef von Sternberg, 1927) dark city flower shop killer curtain chair
Miss Lulu Bett (William C. de Mille, 1921) lulu buys a plant
Stark Love (Karl Brown, 1927) teaches girl to read with old dad
The Kid (Charles Chaplin, 1924) kid fight adult fight
A Woman of Paris (Charles Chaplin, 1923) rich lover, handkerchief, champagne tux
Safety Last! (Fred Newmeyer and Sam Taylor, 1923) Harold Lloyd glasses climbing
Cops (Buster Keaton, 1922) No  Glasses – stone face horse in parade bomb cop chase
Sherlock Jr. (Buster Keaton, 1924) projectionist in the film keeps changing scenes
The Luck o’ the Foolish (Harry Edwards, 1924) Eating a tile sandwich and
     hallucinating. Sits down with cop hat. Harry Langdon
Fluttering Hearts (James Parrott, 1927) fat dark hair big nose puppet red white tc
Rosita (Ernst Lubitsch, 1923) Mary Pickford napoleon hats carriage
Lady Windermere's Fan (Ernst Lubitsch, 1925) horses prancing woman feather hat
The Devil’s Circus (Benjamin Christensen, 1926) woman cuts acrobat cord lions clown
The Scarlet Letter (Victor Sjöström, 1926) Lillian Gish pilgrim girl hats A
Broadway (Paul Fejos, 1929) backscene of women getting dressed – MC walking out to crowd
Sunrise (F. W. Murnau, 1927) woman of the city smokes garters walks expressionist houses crooked big
    square lots of traffic double decker
7th Heaven (Frank Borzage, 1927) Key throw two sisters up the stairs see both levels
Flesh and the Devil (Clarence Brown, 1926) Duel greta garbo in garden lingering kiss
The Clown's Little Brother (Max Fleischer & Dave Fleischer, 1920) out of the inkwell
   clowns
Where Am I? (Max Fleischer & Dave Fleischer, 1925) pan on head skyscraper
      mutt and jeff
Alice in the Wooly West (Walt Disney, 1926) cat on horse bad guy big hat alice
The Spendthrift (Paul Terry, 1922) Aesop’s fables dog fur coat taxi club bar bill fight
Felix the Cat in Futuritzy (Pat Sullivan, 1928) diamond ring palm n fortune rich bomb
Scar of Shame (Frank Perugini, 1927) guy w/top hat beat up girl letter lv w/suitcase
Ten Nights in a Barroom (Charles S. Gilpin, 1926) girl killed white hair black hat hole

Rev. Isaiah T. Jenkins and Sylvester
Isabelle, Martha Jane – her Mother
Body and Soul (Oscar Micheaux, 1925)

7th Heaven (Frank Borzage, 1927)
Borzage’s 7th Heaven is an affecting melodrama about a forlorn Parisian prostitute, Diane, and a woman-hating sewer cleaner,  None of the film crew was European, German-style virtuoso camera movements were imitated, most spectacularly in a vertical shot made from an elevator.  Diane and her sister in their garret apartment. The upwardly slanting floor shows the influence of German set design.
An elevator allows the camera to move with Diane and Chico seven flights up as they approach his apartment, which their love transforms into “heaven.”

Ben-Hur (Fred Niblo, 1925)
Its chariot race was filmed in huge sets; a battery of cameras covered the action from many angles, permitting a breakneck pace in the editing. Large sets and trick photography recreated Rome’s Circus Maximus for the chariot race in Ben-Hur.

The Big Parade (King Vidor, 1925)
The Big Parade depicts the horrors of war. In the following scene, the hero and heroine’s romantic interlude ends as they are wrenched apart when he must leave for the front.

Blind Husbands (Erich von Stroheim, 1919) Universal elevated him to director in 1919 with Blind Husbands, the story of a couple on a mountaineering holiday; the wife is nearly seduced away from her complacent husband by a scoundrel, played by von Stroheim. 

Body and Soul (Oscar Micheaux, 1924)
Body and Soul (1924) explores the issue of the religious exploitation of poor blacks. Paul Robeson, one of the most successful black actors and singers of the century, plays a false preacher who extorts money and seduces women. Although much of his work is lost, Micheaux demonstrated that a black director could make films for black audiences.

Cops (Buster Keaton, 1922)
In the following scene from Cops (1922), Keaton is trapped on a horse-drawn moving van in a passing police parade. The hero calmly lights his cigarette with a bomb tossed by an anarchist.

Felix the Cat in Futuritzy (Pat Sullivan, 1928)
Pat began making Felix cartoons for Paramount around 1918. hugely successful, partly through the appeal of the feline hero and partly through the flexible animation Felix’s tail could fly off his body and become a question mark or a cane for him to lean on
pioneer in the use of tie-in products like dolls

Flesh and the Devil (Clarence Brown, 1926)
full of fancy camera movement, subjective camera effects, and other techniques derived from European avant-garde cinema. Starred Greta Garbo sexy garden scene
Flesh and the Devil was only one production of the 1920s to borrow from European cinema.
The duel scene in Flesh and the Devil, handled with a rapid tracking movement back from a silhouetted scene. The opponents end offscreen at either side, with puffs of smoke coming into the frame, briefly leaving the result uncertain.

The Four Horsemen of the Apocalypse (Rex Ingram, 1921) 1921. It was a big-budget project, running over two hours and based on a recent best-selling novel. huge success
Valentino. and female nurse. big graveyard with crosses the 4 horses in sky.

Greed (Erich von Stroheim, 1924)
shows the ending of Greed, with the protagonist trapped in Death Valley and killing his old enemy, manifests the bleak tone that made Greed unpopular with its initial audiences.

The Kid (Charles Chaplin, 1924)
The Kid. Here Chaplin played the familiar Little Tramp but shared the spotlight with the expressive child actor Jackie Coogan, the Little Tramp coaches the foundling on tactics of street fighting, unaware that the rival’s muscular father is looking on.

Orphans of the Storm (D. W. Griffith, 1922) A poignant moment in Orphans of the Storm is shown in the following scene as the two separated sisters briefly encounter and then lose each other again in the streets of Paris.

Safety Last! (Fred Newmeyer and Sam Taylor, 1923)
In Safety Last! (1923, Newmeyer and Sam Taylor), Harold LLoyd played an ambitious young man who has to climb the side of a skyscraper as a publicity stunt for the store where he works.

Sherlock Jr. (Buster Keaton, 1924)
In the following scene, the hero of Sherlock Jr., a projectionist, dreams while his superimposed dream image goes out to enter the film being shown in the theater.

Sunrise (F. W. Murnau, 1927)
Sunrise. Scripted by Carl Mayer, who had written so many German Expressionist and Kammerspiel films, the film was virtually a German film made in America. It was a simple but intense psychological drama of a farmer who plans to murder his wife in order to run away with his lover from the city. The film was full of Germanic mise-en-scène with Expressionist touches. Even the American stars, Janet Gaynor and George O’Brien, were induced to give Expressionist-style performances. Deep space and skewed false perspectives create an Expressionist composition in the following scene from Sunrise. 
Sunrise was perhaps too sophisticated to be really popular. Its huge city sets made it so costly that it did only moderately well for Fox. As a result, Murnau’s fortunes declined. The huge city square constructed for Sunrise (with help from German false-perspective techniques that made it seem even larger) lady walking around crooked houses mom helps with garter

Underworld (Joseph von Sternberg, 1927)
Von Sternberg used backlight and smoke to create this atmospheric moment as the protagonist of Underworld guns down a rival. The film’s style anticipated the later brooding films noirs (“dark films”) of the 1940s shoot up in flower shop

Way Down East (D. W. Griffith, 1920): Notice the soft-focus cinematography in the next clip from Way Down East, soft also considerably enhanced glamorous shots, as in the medium close-up of Lillian Gish.

Wings (William A. Wellman, 1927)
Other studios carried on the trend toward big-budget films.  combined its romantic elements with spectacular battle footage. Portable cameras were mounted on airplanes to capture aerial combats with an immediacy that trick photography could not equal. Its careful use of motifs and sophisticated use of continuity editing, three-point lighting, and camera movement made Wings the epitome of late silent filmmaking in Hollywood. When the Academy of Motion Picture Arts and Sciences was formed in 1927 and began giving out annual awards (later dubbed “Oscars”), Wings was the first winner as best picture. men running from planes aerial shots
plane crashes in house

A Woman of Paris (Charles Chaplin, 1923)
In the following scene from A Woman of Paris, the heroine’s rich lover fetches one of his own handkerchiefs from a drawer in her apartment, a touch that establishes their intimate relationship visually.

United Artists (UA), formed by Mary Pickford, Charles Chaplin, Douglas Fairbanks,
   and D. W. Griffith in 1919