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| 1954/55: Dean, Fellini, Godard,
Seven Samurai, Nicholson. |
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| Rebel icon, James Dean |
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1954 and 1955 mark the
meteoric rise to fame of James Dean, whose career as leading man is condensed
in these years with the films Giant, East of Eden, and Rebel
Without a Cause. Dean, along with Brando, would redefine acting and manhood
for the latter half of the twentieth century. '54 and '55 also signifies significant
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transitions in foreign cinema. Jean-Luc Godard makes his directorial debut
and the rumblings of New Wave Cinema begin. Fellini gets noticed with La
Strada and Kurosawa directs the often-imitated masterpiece, Seven Samurai.
A young man named Jack Nicholson travels to Hollywood to pursue a career in
the film industry.
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| 1968: 2001, Easy
Rider, Woody Allen, Lucas and Spielberg. |
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| Kubricks's Starchild |
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The technological
brilliance and metaphysical probings of Kubrick's 2001: A Space Odyssey
mystify and thrill audiences and ushers in a whole new era of film-making
with an increasing emphasis on special effects. Hopper's and Fonda's
Easy Rider
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would be the defining movie of the countercultural
ethos and would quickly become the timestamp of the sixties generation. A new crop of American directors emerge who will completely redefine
cinema. Woody Allen makes his directorial debut with Take the Money
and Run. George Lucas and Steven Spielberg are beginning to be noticed
beyond the confines of student films.
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| 1983: Amadeus, Koyaanisqatsi,
the rise of the computer. |
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| Poster for "Amadeus" |
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In late 1983, Milos
Forman and crew set to recreate 18th Century Vienna while filming Amadeus
in Prague. The result is one of the most beloved films of all-time.
Arguably no film quite captures the agony and ecstasy of artistic creation
quite like Amadeus.
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Also released this year is the trend-setting Koyaanisqatsi,
whose time-lapse photography, incredible 70-mm cinematography, and Philip
Glass score seem to make the Gaia Hypothesis an incontrovertible fact.
1983 is also the first year in which computer-assisted editing is utilized
in post-production.
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| 1997: Titanic, digital
effects. |
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| Leo, Kate and one big boat |
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Titanic transcends
nearly every filmic boundary: budget, cg fx, crew, costume and set creation.
The result is nothing short of a worldwide obsession that shoots Titanic's
profits through the proverbial roof. Significant advances in computer-generated
special effects occur with the longest running purely digital sequences
in feature length films.
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