The following material is from Wikipedia:

Introduction

• Saving Private Ryan (1998) dir. Steven Spielberg – showed chaotic instances of a film, to show how it felt towards the audience.
• Three Colors: Blue (1993) dir. Krzysztof Kieślowski – Link between young/old.
• Casablanca (1942) dir. Michael Curtiz – Story and Stardom. However, too “romantic” to be classical in a true sense.
• The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu – Real classical movie, not in a rush.
• Odd Man Out (1947) dir. Carol Reed – Trouble seen in a bubble.
• Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard – Inspiration from Carol Reed, with the bubbles.
• Taxi Driver (1976) dir. Martin Scorsese – Same incident of trouble seen within bubbles of a drink.
• The French Connection (1971) dir. William Friedkin – Camerawork, as placing one on a car, to simulate driving.

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

• Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince – Art doesn’t just happen in fancy places.
• The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise – A moment anyone could understand.
• Workers Leaving the Lumière Factory (1895) dir. Louis Lumière – One of the first films the Lumière shot. Short documentary of ordinary life.
• Arrival of a Train at La Ciotat (1896) dir. Louis Lumière – It’s said to have unnerved the audience, thinking that the train would come towards them. Light came to life.
• Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise – Make audiences want to feel.
• Sandow (1894) dir. William Kennedy Dickson – Make audiences want to feel.
• What Happened on Twenty-third Street, New York City (1901) dir. George S. Flemingand Edwin S. Porter – Giving an image bank towards the audience.
• Cendrillon (1899) dir. Georges Méliès – Utilized a camera that jammed as a trick to make a man appear from nowhere.
• Le voyage dans la lune (1902) dir. Georges Méliès
• La lune à un mètre (1898) dir. Georges Méliès – First special effects.
• The Kiss in the Tunnel (1899) dir. George Albert Smith – First to film in front of a train, to create a ghostly tracking shot, AKA “The Phantom Ride”
• Shoah (1985) dir. Claude Lanzmann – Utilized the train lines, using the same train lines as the Jews took, during the Holocaust.
• 2001: A Space Odyssey (1968) dir. Stanley Kubrick – Utilized the Phantom Ride in a different way, as if the main character/film was having an out of body experience.
• The Sick Kitten (1903) dir. George Albert Smith – One of the first closeups of cinema. Utilized to show more detail. Closeups were born.
• October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein – Closeups of a dead woman that show the real sense of movement, and tragedy.
• Once Upon a Time in the West (1968) dir. Sergio Leone – Utilizes closeup as a realization technique.
• The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector – Extended film for a broader image, utilizing 16:9 (widescreen) to show more action, and would not be widely used until 1953.

1903-1918: The Thrill Becomes Story or The Hollywood Dream

• Life of an American Fireman (1903) dir. Edwin S. Porter – An example of how editing creates action, and directs it. “Continuity Editing”
• Sherlock Jr. (1924) dir. Buster Keaton – Utilizes double exposure.
• The Horse that Bolted (1907) dir. Charles Pathé – The editing shows what is happening at the same time, “Parallel editing”
• The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes – “Reverse Angle Shot”, utilizes a new freedom of editing.
• Vivre sa vie (1962) dir. Jean-Luc Godard – Does not utilize the Reverse Angle Shot, which was shocking at the time.
• Those Awful Hats (1909) dir. D. W. Griffith – Has an actress that was known across multiple films.
• The Mended Lute (1909) dir. D. W. Griffith – Director lied that an actress died in real life, yet when she showed up in a movie, the audience was very upset, which was also a lie, however, these lies put her up in fame. She was the first movie star.
• The Abyss (1910) dir. Urban Gad – European films had less censorship, actors could be more sexual.
• Stage Struck (1925) dir. Allan Dwan – Luxury and costuming were an important part of this film. Adding an element of sublime.
• The Mysterious X (1914) dir. Benjamin Christensen – Utilized lighting as a main point of interest within film.
• Häxan (1922) dir. Benjamin Christensen – Utilized multiple light sources, and special effects.
• Ingeborg Holm (1913) dir. Victor Sjöström – Had naturalism and grace.
• The Phantom Carriage (1921) dir. Victor Sjöström – Stories within stories, moods within moods. Utilized a lot of blue light.
• Shanghai Express (1932) dir. Josef von Sternberg – Movie was an area where costumes could look believable.
• The Story of the Kelly Gang (1906) dir. Charles Tait – First feature length movie. Made in Australia.
• The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille – First Hollywood feature. Utilizes “eyes match”, of where the actors look at each other, where they connect. Camera had to stay at the same side of a 180 degree line.
• The Empire Strikes Back (1980) dir. Irvin Kershner – This utilized the 180 degree rule, showing that we can actually believe the characters are talking to each other.
• Falling Leaves (1912) dir. Alice Guy-Blaché – First woman to direct a film. Created dramatic arc films.
• Suspense (1913) dir. Phillips Smalley and Lois Weber – Utilizes a split screen to show the action in the moment, with all perspectives. Also utilizes a side mirror to show police chasing a car. Camera position was a main focus.
• The Wind (1928) dir. Victor Sjöström – Utilizes sand as a main focus, including the camera, the setting, etc.
• Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley – “It needs to show this, the wind in the trees.”
• The House with Closed Shutters (1910) dir. D. W. Griffith – Film was “stagy”, and airless.
• Way Down East (1920) dir. D. W. Griffith – Visual softness.
• Orphans of the Storm (1921) dir. D. W. Griffith – Visual softness, and back lighting utilized to make actors stand out against backgrounds.
• The Birth of a Nation (1915) dir. D. W. Griffith – Raised a racist flag, it showed the power of cinema. Mixed the epic, with the intimate.
• Rebirth of a Nation (2007) dir. DJ Spooky – Played with the toxic scenes of “The Birth of a Nation”
• Cabiria (1914) dir. Giovanni Pastrone – Utilized moving shots, and scale.
• Intolerance (1916) dir. D. W. Griffith – Inspired by “Cabiria”, it was also 3 1/2 hours. Violent scenes, and gangster scenes were blue. There were also multiple story lines, as in, story line A for a bit, then story line B, then back to A, then back to B, etc. His message with these story lines showing “Look at these different timelines, they show the same human traits.” Utilizes editing as an intellectual signpost.
• Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata – 2 story lines intertwined, yet they come together in the end. “The first great Japanese film”.