Vintage Cinema.

Montage Film Reviews (mfr) defines vintage as being all cinema and televison shows produced prior to 1980.

Animal Crackers, 1930
'The Change in Cinematic Spectacle'

Bellissima, 1951
'The Realities Which Lie Beneath the Italian Silver Screen'

Black Moon, 1975
'Malle’s Failure of Surrealism in Black Moon'

Blood for Dracula, 1975
'Moral Vampirism'

Blood from the Mummy’s Tomb, 1971
'Abject Failure'

Drifters 1929
'Dramatizing the Mundane: The Working Man Hero in John Grierson’s ‘Drifters’'

Flesh For Frankenstein, 1973
'Dead Sexy'

Hearts and Minds 1974
'Savagery and Civilisation in ‘Hearts and Minds’'

Hoři, má panenko (Fireman's Ball) 1967
'Banality and Czech Identity in Miloš Forman's Fireman's Ball'

Il Casanova di Fellini (Fellini’s Casanova), 1976
'Digital Decadence: (Re) Watching 'Fellini’s Casanova' in the Age of Hyper-Spectation'

Il Conformista (The Conformist), 1970
'The Politics of the Individual – Bertolucci and The Conformist'

La Terra Trema 1948
'The significance of the family in “La Terra Trema” by Luchino Visconti'

Les Yeux Sans Visage (Eyes Without A Face), 1960
'Nouvelle Visage, Nouvelle Femme'

M, 1931
'In Sound and Silence: Fritz Lang Presents 'M''

Metropolis, 1927
'Birth of A Genre'

Rear Window, 1954
'The Male Gaze as Spectator in Hitchcock’s ‘Rear Window’'

Salo o le 120 giornate di Sodoma (Salo; or the 120 Days of Sodom), 1975
'Justice for The Forbidden Film'

Seishun zankoku monogatari (Naked Youth), 1960
'Is 'Naked Youth' Japan’s 'Rebel Without a Cause''

Shichinin no samurai (Seven Samurai), 1954
'What socio-historical tensions does the Samurai film ‘Shichinin no samurai’ reflect?'

Tagebuch einer Verlorenen (Diary of a Lost Girl), 1929
'Diary of a Lost Girl - Morality, Social Realism, and Gender roles in Silent Era Germany'

Taxi Driver, 1976
‘Descending into Hell: Life after Vietnam for a Taxi Driver'

That Obscure Object of Desire (Cet obscur objet du désir), 1977
'Frustration and Manipulation in Bunuel's Masterpiece’

The Amazing Transparent Man, 1960
'The Amazing Transparent Man: Invisible and Deadly!'

The Horror Of Frankenstein, 1970
'A Matter of Taste'

The Last House on Dead End Street, 1977
'Pushing the Boundaries of Exploitation to the Extreme: 'The Last House on Dead End Street' and the Perverted Power of the Relentlessly Shocking Cinematic Image'

The Long Goodbye, 1973
'Nostalgic Significance: Analysing Soundtrack Consistency Over Image in Robert Altman's The Long Goodbye'

The Nanny, 1965
'A study of inter-generational conflict in 'The Nanny’'

The Other, 1972
'Children of the Damned'

The Reptile, 1966
'Guilty Secrets, Guilty Pleasures’

The Sadist, 1963
'Influential Films That Time (and the Censors) Forgot – Brutality in ‘The Sadist’’

The Silent Duel, 1949
'Subtle Representations of War'

Tuntematon Sotilas (The Unknown Soldier), 1955
'The Red Soldiers and White Officers of ‘The Unknown Soldier’'

What? (Che?), 1972
'Inconsistencies in the Auteur Theory regarding Roman Polanski'