The film Face/Off used slow motion.
 Directors developed a theory of montage, beginning with Eisenstein and the complex juxtaposition of images in his film Battleship Potemkin
 After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of "star" filmmakers such as Peter Bogdanovich and Martin Scorsese

