Linked from

The 47 pages that link to Location shooting, each with the reason it gives.

• French New WaveRelated: Lightweight cameras and small crews made Paris streets usable as film locations.

• Italian neorealismRelated: Rubble-strewn streets and working-class neighborhoods supplied the movement’s material settings.

• John HustonRelated: Huston often used landscapes and physical settings as active forces in his films.

• François TruffautRelated: Real streets and rooms give films such as The 400 Blows an immediate Parisian texture.

• Parallel cinemaRelated: Real locations grounded many films in recognizable homes, streets, and landscapes.

• British New WaveRelated: Real streets, workplaces, and homes gave the films a specific regional texture.

• Italian NeorealismRelated: Real streets and buildings grounded neorealist stories in recognizable postwar surroundings.

• NosferatuRelated: Murnau’s use of actual landscapes and buildings gives the vampire story an unusually grounded setting.

• Vittorio De SicaRelated: Postwar streets and homes gave De Sica’s films their immediate social texture.

• American New WaveRelated: Real locations brought contemporary American environments into the frame.

• Dogme 95Related: Dogme 95 required filming on location, with no props or sets brought in.

• Sidney LumetRelated: New York locations gave many Lumet dramas a tactile, socially specific setting.

• Single-camera sitcomRelated: Single-camera production makes exterior and location scenes easier to integrate.

• TalkiesRelated: Early recording equipment and noisy cameras initially made location sound difficult.

• George StevensRelated: The landscapes of Shane and Giant give their conflicts a strong sense of physical scale.

• Roberto RosselliniRelated: The damaged streets of Rome and Berlin gave his films a material immediacy.

• Werner HerzogRelated: Herzog’s remote locations make landscape an active force in films such as Aguirre and Fitzcarraldo.

• Rear projectionCompared with: It supplies authentic backgrounds without the alignment and lighting compromises of rear projection.

• The 400 BlowsRelated: Paris streets and buildings give Antoine’s world a lived-in texture.

• Indian New WaveRelated: Real environments supported the movement’s observational realism and regional specificity.

• On the TownRelated: Opening sequences filmed in New York give the city a visible presence.

• Pather PanchaliRelated: Rural locations lend the film’s landscapes and homes a lived-in quality.

• Wim WendersRelated: Actual cities and landscapes often function as active presences in Wenders’s films.

• BreathlessRelated: Street scenes use Paris as an active setting rather than a controlled studio backdrop.

• The Best Years of Our LivesRelated: Dayton locations lend the returning servicemen's civilian world a recognizable physical texture.

• The French ConnectionRelated: New York streets and transit spaces supply much of the film’s physical realism.

• The RevenantRelated: Remote landscapes and harsh conditions shaped the production’s visual and physical demands.

• Live-action filmRelated: Real locations can supply settings and physical details directly to the camera.

• On the WaterfrontRelated: New Jersey waterfront locations lend the docks and streets a physical, working-class texture.

• British social realismRelated: Real streets, homes, and workplaces anchor stories in recognizable working-class environments.

• Rome, Open CityRelated: Roman streets and buildings lend the occupied city a visible material presence.

• The Longest DayRelated: French locations help ground the film’s depiction of Normandy and its villages.

• Bottle episodeCompared with: A bottle episode usually limits locations, while location shooting expands the possible settings.

• Cinema NovoRelated: Street and rural locations grounded its stories in Brazil’s lived conditions.

• Stanley DonenRelated: On the Town used New York locations, giving its musical energy a city beyond the studio.

• Victor SjöströmRelated: Natural settings gave his dramas physical scale and expressive landscapes.

• William FriedkinRelated: Friedkin used real urban environments to give crime scenes and chases documentary texture.

• Éric RohmerRelated: Real streets, beaches, and homes anchor his romantic plots in recognizable daily environments.

• John BoormanRelated: His films often draw atmosphere and physical danger from the terrain where they are set.

• Louis FeuilladeRelated: Paris streets and interiors lend his criminal adventures a recognizable everyday setting.

• Jia ZhangkeRelated: Actual towns, factories, and construction sites make social change part of the film’s visible texture.

• Raoul CoutardRelated: Working on Paris streets and other real locations helped his films capture everyday surroundings.

• Abderrahmane SissakoRelated: Real courtyards and landscapes ground his stories in specific African settings.

• Lester James PeriesRelated: Rekava’s village locations helped make Sri Lankan landscapes central to Peries’s cinematic language.

• Nadine LabakiRelated: Real Lebanese settings give her stories a close connection to everyday urban life.

• Dharmasena PathirajaRelated: Actual urban and coastal spaces give his social conflicts a specific material setting.

• Straub–HuilletRelated: Real landscapes and sites become active historical and political elements in their compositions.