{
  "meta": {
    "version": "0.4.0",
    "schemaVersion": "0.4",
    "coverage": "1895–2025",
    "lastReviewed": "2026-10-04",
    "creator": "Ronnie Kao",
    "citation": "Kao, Ronnie. Film Genealogy: An Interactive Cinema Genealogy. Dataset v0.4.0, coverage 1895–2025, reviewed October 4, 2026.",
    "canonicalUrl": "https://tienhsiangkao.github.io/film-genealogy/",
    "rights": {
      "dataset": {
        "status": "license_pending",
        "note": "The author has not yet designated a formal reuse license for the original Film Genealogy dataset/editorial metadata."
      },
      "software": {
        "status": "repository_terms_apply",
        "note": "Website/source-code reuse is governed separately from the research dataset."
      },
      "portraits": {
        "status": "source_specific",
        "note": "Portrait images remain governed by the license and attribution terms on their Wikimedia Commons source pages."
      },
      "citedSources": {
        "status": "citation_only",
        "note": "Books, articles, interviews and web sources are cited as evidence and are not relicensed by this dataset."
      }
    },
    "licenseNote": "Rights are separated by layer. A formal license for the original dataset/editorial metadata is still pending author designation; portrait and cited-source rights remain source-specific."
  },
  "research": {
    "meta": {
      "version": "0.4.0",
      "schemaVersion": "0.4",
      "coverage": "1895–2025",
      "lastReviewed": "2026-10-04",
      "creator": "Ronnie Kao",
      "citation": "Kao, Ronnie. Film Genealogy: An Interactive Cinema Genealogy. Dataset v0.4.0, coverage 1895–2025, reviewed October 4, 2026.",
      "canonicalUrl": "https://tienhsiangkao.github.io/film-genealogy/",
      "rights": {
        "dataset": {
          "status": "license_pending",
          "note": "The author has not yet designated a formal reuse license for the original Film Genealogy dataset/editorial metadata."
        },
        "software": {
          "status": "repository_terms_apply",
          "note": "Website/source-code reuse is governed separately from the research dataset."
        },
        "portraits": {
          "status": "source_specific",
          "note": "Portrait images remain governed by the license and attribution terms on their Wikimedia Commons source pages."
        },
        "citedSources": {
          "status": "citation_only",
          "note": "Books, articles, interviews and web sources are cited as evidence and are not relicensed by this dataset."
        }
      },
      "licenseNote": "Rights are separated by layer. A formal license for the original dataset/editorial metadata is still pending author designation; portrait and cited-source rights remain source-specific."
    },
    "nodes": [
      {
        "id": "lumiere",
        "name": "Lumière Brothers",
        "dateLabel": "1895",
        "startYear": 1895,
        "endYear": null,
        "datePrecision": "year",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmakers",
        "idea": "Actuality · framing · duration",
        "description": "Cinema as observation: real movement organized by framing and duration. A root for this atlas, not a claim that cinema had a single inventor.",
        "films": [
          "Workers Leaving the Factory",
          "Arrival of a Train"
        ]
      },
      {
        "id": "melies",
        "name": "Georges Méliès",
        "dateLabel": "1896+",
        "startYear": 1896,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Trick film · fantasy · spectacle",
        "description": "Cinema as fabrication: staging, substitution, theatricality and effects turn recording into transformation.",
        "films": [
          "The Vanishing Lady",
          "A Trip to the Moon"
        ]
      },
      {
        "id": "guy",
        "name": "Alice Guy-Blaché",
        "dateLabel": "1897+",
        "startYear": 1897,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Scripted fiction · production",
        "description": "An early expansion of staged narrative filmmaking and studio authorship.",
        "films": [
          "La Fée aux Choux",
          "Falling Leaves"
        ]
      },
      {
        "id": "actuality",
        "name": "Actuality cinema",
        "dateLabel": "1890s+",
        "startYear": 1898,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "practice",
        "role": "Tradition",
        "idea": "Events · travel · labour",
        "description": "Before documentary became a genre, actuality films recorded public life, work, travel and events.",
        "films": [
          "Early actualités"
        ]
      },
      {
        "id": "porter",
        "name": "Edwin S. Porter",
        "dateLabel": "1903+",
        "startYear": 1903,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Multi-shot narrative",
        "description": "A transitional figure between attraction-based cinema and more coherent multi-shot storytelling.",
        "films": [
          "Life of an American Fireman",
          "The Great Train Robbery"
        ]
      },
      {
        "id": "feuillade",
        "name": "Louis Feuillade",
        "dateLabel": "1906+",
        "startYear": 1906,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Serial · realism + fantasy",
        "description": "Recognisable streets and rooms become infected by masks, conspiracies and criminal fantasy.",
        "films": [
          "Fantômas",
          "Les Vampires"
        ]
      },
      {
        "id": "griffith",
        "name": "D. W. Griffith",
        "dateLabel": "1908+",
        "startYear": 1908,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Cross-cutting · continuity",
        "description": "A major node in the systematization of narrative grammar, with a legacy inseparable from the racist politics of The Birth of a Nation.",
        "films": [
          "Intolerance",
          "Broken Blossoms"
        ]
      },
      {
        "id": "weber",
        "name": "Lois Weber",
        "dateLabel": "1911+",
        "startYear": 1911,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Social drama · moral conflict",
        "description": "Narrative technique used for social argument, domestic space and ethical tension.",
        "films": [
          "Suspense",
          "Shoes",
          "The Blot"
        ]
      },
      {
        "id": "chaplin",
        "name": "Charlie Chaplin",
        "dateLabel": "1914+",
        "startYear": 1914,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Performance · timing · pathos",
        "description": "Performance becomes a complete cinematic system: the body determines rhythm, framing and emotion.",
        "films": [
          "The Immigrant",
          "The Kid"
        ]
      },
      {
        "id": "expressionism",
        "name": "German Expressionism",
        "dateLabel": "1920s",
        "startYear": 1920,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "movement",
        "role": "Movement",
        "idea": "Light · distortion · subjective space",
        "description": "Sets, shadows and geometry become extensions of psychology.",
        "films": [
          "The Cabinet of Dr. Caligari"
        ]
      },
      {
        "id": "kuleshov",
        "name": "Lev Kuleshov",
        "dateLabel": "1920s",
        "startYear": 1920,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker / theorist",
        "idea": "Meaning between shots",
        "description": "Meaning can be produced through the relation between shots, not only within a shot.",
        "films": [
          "Workshop experiments"
        ]
      },
      {
        "id": "keaton",
        "name": "Buster Keaton",
        "dateLabel": "1920s",
        "startYear": 1920,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Architecture · mechanics",
        "description": "Character collides with an indifferent mechanical world; spatial precision becomes comedy.",
        "films": [
          "Sherlock Jr.",
          "The General"
        ]
      },
      {
        "id": "lang",
        "name": "Fritz Lang",
        "dateLabel": "1921+",
        "startYear": 1921,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Geometry · systems",
        "description": "Expressionist design becomes a machine for thinking about crime, cities and technology.",
        "films": [
          "Dr. Mabuse",
          "Metropolis"
        ]
      },
      {
        "id": "murnau",
        "name": "F. W. Murnau",
        "dateLabel": "1922+",
        "startYear": 1922,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Mobile camera · atmosphere",
        "description": "Expressionist psychology expands into fluid camera movement and spatial narration.",
        "films": [
          "Nosferatu",
          "The Last Laugh",
          "Sunrise"
        ]
      },
      {
        "id": "vertov",
        "name": "Dziga Vertov",
        "dateLabel": "1924+",
        "startYear": 1924,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Kino-eye · nonfiction montage",
        "description": "Reality is not merely captured; camera and montage actively reorganize perception.",
        "films": [
          "Kino-Eye",
          "Man with a Movie Camera"
        ]
      },
      {
        "id": "eisenstein",
        "name": "Sergei Eisenstein",
        "dateLabel": "1925+",
        "startYear": 1925,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker / theorist",
        "idea": "Collision montage",
        "description": "One shot collides with another to generate emotion, rhythm and argument.",
        "films": [
          "Strike",
          "Battleship Potemkin",
          "October"
        ]
      },
      {
        "id": "hitchcock",
        "name": "Alfred Hitchcock",
        "dateLabel": "1926+",
        "startYear": 1926,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "POV · suspense · subjectivity",
        "description": "Continuity, German visual design and controlled subjectivity converge into suspense.",
        "films": [
          "The Lodger",
          "Blackmail",
          "Vertigo"
        ]
      },
      {
        "id": "dreyer",
        "name": "Carl T. Dreyer",
        "dateLabel": "1928+",
        "startYear": 1928,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Close-up · abstraction · duration",
        "description": "Cinema turns toward radical facial concentration, stripped spatial logic and spiritual intensity.",
        "films": [
          "The Passion of Joan of Arc"
        ]
      },
      {
        "id": "sound",
        "name": "Synchronized sound",
        "dateLabel": "c. 1927+",
        "startYear": 1929,
        "endYear": null,
        "datePrecision": "circa",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "production",
        "entityType": "technology",
        "role": "Technical threshold",
        "idea": "Dialogue · music · acoustic space",
        "description": "Synchronized sound changes performance, staging, cutting and production without erasing silent visual languages.",
        "films": [
          "The Jazz Singer",
          "Blackmail"
        ]
      },
      {
        "id": "classical_system",
        "name": "Classical Hollywood system",
        "dateLabel": "1930s–50s",
        "startYear": 1933,
        "endYear": 1959,
        "datePrecision": "range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "production",
        "entityType": "production_system",
        "role": "Industrial / stylistic system",
        "idea": "Continuity · genre · studio craft",
        "description": "A highly organized studio system stabilizes continuity grammar, genre production and star-centered storytelling.",
        "films": [
          "Studio-era Hollywood"
        ]
      },
      {
        "id": "ozu",
        "name": "Yasujirō Ozu",
        "dateLabel": "1930s–60s",
        "startYear": 1934,
        "endYear": 1969,
        "datePrecision": "range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Still camera · everyday duration",
        "description": "Low camera height, ellipsis and domestic repetition turn ordinary time into a rigorous style.",
        "films": [
          "Late Spring",
          "Tokyo Story"
        ]
      },
      {
        "id": "renoir",
        "name": "Jean Renoir",
        "dateLabel": "1930s",
        "startYear": 1935,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Deep staging · social space",
        "description": "Fluid staging and social observation connect characters to environments and collective life.",
        "films": [
          "Toni",
          "The Rules of the Game"
        ]
      },
      {
        "id": "welles",
        "name": "Orson Welles",
        "dateLabel": "1941+",
        "startYear": 1941,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Deep focus · sound · fractured narration",
        "description": "Theatrical staging, radio sound and deep-focus cinematography are recombined into a modern narrative machine.",
        "films": [
          "Citizen Kane",
          "The Magnificent Ambersons"
        ]
      },
      {
        "id": "neorealism",
        "name": "Italian Neorealism",
        "dateLabel": "1945+",
        "startYear": 1945,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "movement",
        "role": "Movement",
        "idea": "Locations · nonprofessionals · social reality",
        "description": "Postwar Italian filmmakers move into streets and ordinary lives, creating a durable model for realist cinema worldwide.",
        "films": [
          "Rome, Open City",
          "Bicycle Thieves"
        ]
      },
      {
        "id": "de_sica",
        "name": "Vittorio De Sica",
        "dateLabel": "1948+",
        "startYear": 1948,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Humanist neorealism",
        "description": "Nonprofessional performance and location shooting are organized into emotionally precise social fables.",
        "films": [
          "Bicycle Thieves",
          "Umberto D."
        ]
      },
      {
        "id": "kurosawa",
        "name": "Akira Kurosawa",
        "dateLabel": "1950s–60s",
        "startYear": 1950,
        "endYear": 1969,
        "datePrecision": "range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Action geometry · weather · moral conflict",
        "description": "Dynamic blocking and cutting turn physical action into moral and spatial clarity.",
        "films": [
          "Rashomon",
          "Seven Samurai",
          "Yojimbo",
          "The Hidden Fortress"
        ]
      },
      {
        "id": "varda",
        "name": "Agnès Varda",
        "dateLabel": "1954+",
        "startYear": 1954,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Cinécriture · essay · location",
        "description": "Authorial “cine-writing” joins documentary attention, fiction and personal essay, anticipating the French New Wave.",
        "films": [
          "La Pointe Courte",
          "Cléo from 5 to 7",
          "The Gleaners and I"
        ]
      },
      {
        "id": "ray",
        "name": "Satyajit Ray",
        "dateLabel": "1955+",
        "startYear": 1955,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Humanism · location realism",
        "description": "A low-budget, location-based cinema turns Bengali life into a global modernist language.",
        "films": [
          "Pather Panchali",
          "Charulata"
        ]
      },
      {
        "id": "french_new_wave",
        "name": "French New Wave",
        "dateLabel": "1959+",
        "startYear": 1959,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "movement",
        "role": "Movement",
        "idea": "Jump cut · location · auteur practice",
        "description": "Young filmmakers reject polished studio conventions through location shooting, cinephilia, discontinuity and personal authorship.",
        "films": [
          "Breathless",
          "The 400 Blows",
          "Hiroshima mon amour"
        ]
      },
      {
        "id": "cassavetes",
        "name": "John Cassavetes",
        "dateLabel": "1959+",
        "startYear": 1959,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "production",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "DIY production · performance",
        "description": "Small crews, 16mm, long scenes and actor-centered production establish a durable American independent model.",
        "films": [
          "Shadows",
          "Faces",
          "A Woman Under the Influence"
        ]
      },
      {
        "id": "godard",
        "name": "Jean-Luc Godard",
        "dateLabel": "1960+",
        "startYear": 1960,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Discontinuity · quotation · essay",
        "description": "Editing, text, genre and politics are treated as materials to be exposed and recombined.",
        "films": [
          "Breathless",
          "Pierrot le fou",
          "Histoire(s) du cinéma"
        ]
      },
      {
        "id": "parallel_cinema",
        "name": "Indian Parallel Cinema",
        "dateLabel": "1960s+",
        "startYear": 1961,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "reality",
        "entityType": "movement",
        "role": "Movement",
        "idea": "Regional realism · art cinema",
        "description": "Indian filmmakers expand low-budget, socially attentive alternatives to mainstream commercial production.",
        "films": [
          "Parallel Cinema traditions"
        ]
      },
      {
        "id": "leone",
        "name": "Sergio Leone",
        "dateLabel": "1964+",
        "startYear": 1964,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Operatic western · duration · close-up",
        "description": "The western is rebuilt through extreme close-ups, elongated tension and transnational borrowing.",
        "films": [
          "A Fistful of Dollars",
          "Once Upon a Time in the West"
        ]
      },
      {
        "id": "new_hollywood",
        "name": "New Hollywood",
        "dateLabel": "1967+",
        "startYear": 1967,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "production",
        "entityType": "movement",
        "role": "Industrial / stylistic shift",
        "idea": "Youth audience · auteur power · genre revision",
        "description": "American studio filmmaking absorbs European art-cinema strategies while loosening older production and censorship norms.",
        "films": [
          "Bonnie and Clyde",
          "The Graduate"
        ]
      },
      {
        "id": "akerman",
        "name": "Chantal Akerman",
        "dateLabel": "1970s+",
        "startYear": 1975,
        "endYear": null,
        "datePrecision": "decade_or_range",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "formal",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Duration · domestic space · feminism",
        "description": "Fixed duration and domestic routine are transformed into radical structures of attention and gendered space.",
        "films": [
          "Hotel Monterey",
          "Jeanne Dielman"
        ]
      },
      {
        "id": "spielberg",
        "name": "Steven Spielberg",
        "dateLabel": "1975+",
        "startYear": 1975,
        "endYear": null,
        "datePrecision": "open_ended",
        "dateBasis": "Editorial emergence anchor within this genealogy; not a birth date and not necessarily a career start.",
        "category": "narrative",
        "entityType": "person",
        "role": "Filmmaker",
        "idea": "Visual clarity · suspense · spectacle",
        "description": "Classical staging and modern spectacle are fused into highly legible popular cinema.",
        "films": [
          "Jaws",
          "Close Encounters of the Third Kind"
        ]
      },
      {
        "id": "lucas",
        "name": "George Lucas",
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        "id": "burnett",
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        "id": "kiarostami",
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        "id": "dogme",
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        "id": "apichatpong",
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    "currents": [
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        "id": "actuality-current",
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        "id": "soviet-current",
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        "id": "neorealist-current",
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        "id": "direct-current",
        "label": "Direct cinema / cinéma vérité",
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        "id": "newwave-current",
        "label": "New Waves / auteur modernism",
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        "id": "third-current",
        "label": "Third Cinema / postcolonial modernisms",
        "start": 1965,
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      {
        "id": "newhollywood-current",
        "label": "New Hollywood / genre revision",
        "start": 1967,
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        "id": "indie-current",
        "label": "Independent / DIY production",
        "start": 1959,
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        "tone": "production"
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      {
        "id": "eastasia-current",
        "label": "East Asian new waves / transnational modernism",
        "start": 1980,
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        "id": "hybrid-current",
        "label": "Hybrid documentary / essay cinema",
        "start": 1985,
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        "height": 17,
        "tone": "reality"
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        "id": "digital-current",
        "label": "Digital capture / low-cost production",
        "start": 1995,
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        "id": "duration-current",
        "label": "Duration / slow and contemplative cinema",
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    "chapters": [
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        "id": "origins",
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        "id": "world",
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        "short": "1931–1958",
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        "id": "modern",
        "label": "New Waves & modernism",
        "short": "1959–1976",
        "start": 1959,
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      {
        "id": "after",
        "label": "After the studio era",
        "short": "1977–1994",
        "start": 1977,
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      {
        "id": "digital",
        "label": "Indie, global & digital",
        "short": "1995–2007",
        "start": 1995,
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      {
        "id": "now",
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        "short": "2008–2025",
        "start": 2008,
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}