Thief of Bagdad (1940, UK)

The Academy Award for Special Effects (photographic and sound) was awarded to this film. Associate producer William Cameron Menzies designed some of the rich special effects for this imaginative Arabian Nights fantasy film produced by Alexander Korda, a loose remake of the original Douglas Fairbanks silent classic of 1924; they included a flying magic carpet, a six-armed mechanical assassin, a toy horse that could fly, poor Bagdad thief Abu's (15 year-old Sabu) battle with a giant spider in its huge web, and the sight of 50 foot tall genie or Djinni (Rex Ingram) released from a tiny bottle.

Citizen Kane (1941)

This highly-rated classic masterpiece from director-star-producer Orson Welles brought together many cinematic and narrative techniques and experimental innovations (in photography, editing, and sound) to reconstruct the title character like building a jigsaw puzzle; the innovative, bold film is still an acknowledged milestone in the development of cinematic technique, although it 'shared' some of its techniques from many earlier films; its components brought together the following aspects:

• use of a subjective camera
• unconventional lighting, including chiaroscuro, backlighting and high-contrast lighting, prefiguring the darkness and low-key lighting of future film noirs
• inventive use of shadows and strange camera angles, following in the tradition of German Expressionists
• deep-focus shots with incredible depth-of field and focus from extreme foreground to extreme background (also found in cinematographer Gregg Toland's earlier work in Dead End (1937), John Ford's The Long Voyage Home (1940), and Hitchcock's Rebecca (1940)) that emphasized mise-en-scene; deep-focus shots included the scene in Mrs. Kane's boarding house as young Kane played outdoors in the snow, Susan's music lesson, Kane's firing of Leland, and Susan's attempted suicide
• low-angled shots revealing ceilings in sets (a technique possibly borrowed from John Ford's Stagecoach (1939) which Welles screened numerous times)
• sparse use of revealing facial close-ups
• elaborate camera movements
• over-lapping, talk-over dialogue (exhibited earlier in Howard Hawks' His Girl Friday (1940)) and layered sound
• the sound technique termed "lightning-mix" in which a complex montage sequence was linked by related sounds
• a cast of characters that aged throughout the film
• flashbacks, flashforwards, and non-linear story-telling (used in earlier films, including another rags-to-riches tale starring Spencer Tracy titled The Power and the Glory (1933) with a screenplay by Preston Sturges, and RKO's A Man to Remember (1938) from director Garson Kanin and screenwriter Dalton Trumbo); later adopted by many films including Pulp Fiction (1994) and Memento (2000)
• the frequent use of transitionary dissolves or curtain wipes, as in the scene in which the camera ascended in the opera house into the rafters to show the workmen's disapproval of Mrs. Kane's operatic performance; also the famous 'breakfast' montage scene illustrating the disintegration of Kane's marriage in a brief time, or the dissolve when the camera passed down through the nightclub's roof coordinated with a lightning flash
• the abrupt cut between the opening scene of Kane's death, and the beginning of the "News on the March" segment
• long, uninterrupted shots or lengthy takes of sequences
• continuity editing, such as the scene of Kane's anger by Susan's departure; also montage (or discontinuity) editing, such as Susan's opening night opera performance

Munchhausen (1943, Ger.)

This colorful (Agfacolor), visually creative and extravagant film by director Josef von Báky, adapted from the story by R.E. Raspe and based on the fabulous baron nobleman of the title who was known for telling tall tales, featured marvelous special effects, including a life-like oil painting, a hot-air balloon trip to the Moon, dancing coats and trousers, a lady of the moon - nothing more than a head growing on a plant, and the Baron (Hans Albers) atop a speeding cannonball through the clouds into the Turkish sultan’s palace; the film was commissioned by the Nazi Third Reich’s Propaganda Minister Josef Goebbels to celebrate the 25th Anniversary of Germany's UFA Studios. Director Terry Gilliam's remake The Adventures of Baron Munchausen (1988) featured the same fantastic adventures and was nominated for an Academy Award for Best Visual Effects.

Blue Skies (1946)

This Technicolored Paramount production about a love triangle featured Fred Astaire's (as radio broadcaster Jed Potter) famous virtuoso and witty rendition of Puttin' on the Ritz, with his only prop being his cane (that he used in synchronized conjunction with his rat-a-tat tapping). In one segment of the performance, he danced in counterpoint with a chorus line of ten miniature Astaires. This was achieved by filming three separate takes of Astaire (in the lead foreground and two background performances), and reproducing them.

Films of Ray Harryhausen - Special Effects Master and Model Animator

Many wonderful fantasy films contained the incredible special effects and stop-motion animation - and lifelike creatures of Ray Harryhausen, a protege of Willis O'Brien. He pioneered the development of a split-screen technique called Dynamation -- (rear projection on overlapping miniature screens) -- that brought real-life to combined scenes of animation and live-action.

Often partnered with Charles H. Schneer, his classic films with stop-motion animation and other special effects included: The Beast from 20,000 Fathoms (1953) (his first solo film), It Came From Beneath the Sea (1955), 20 Million Miles to Earth (1957), all the Sinbad films (including The 7th Voyage of Sinbad (1958) - Harryhausen's first split-screen film shot entirely in color, The Golden Voyage of Sinbad (1974), and Sinbad and the Eye of the Tiger (1977)), The Three Worlds of Gulliver (1959), Mysterious Island (1961), Jason and the Argonauts (1963) - with the spectacular stop-motion sword-wielding skeletons scene, The First Men in the Moon (1964), and most recently, Clash of the Titans (1981).