Great films can't be measured scientifically because greatness is extremely subjective. The artistic greatness of films (and other works of art) can never be rated or quantified, although critics, reviewers, and fans still make hundred best lists, all-time greatest lists and generate results of polls. Over a long period of time, it has been found that the English-language films found here in this selection of 100 Greatest Films repeatedly appear on all-time best film lists and are often noted in the collective responses of film viewers.
Satyajit Ray's films include the "Apu" trilogy, "The Music Room", "Charulata", "Days and Nights in the Forest", "The Chess Players" and "The Stranger". He also made comedies, musicals, detective films and documentaries. Beginning with the classic "Pather Panchali" in 1955, Ray was an exceptionally versatile artist who won almost every major prize in cinema, including the Oscar for lifetime achievement just before his death in 1992.
Added by: msaddam | Karma: 741.12 | Other | 5 November 2009
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Overhearing Film Dialogue
An analysis of the various roles that dialogue plays in Hollywood film, from the introduction of sound to the present.
Sarah Kozloff shows why dialogue has been neglected in the analysis of narrative film and uncovers the essential contributions dialogue makes to a film's development and impact. She uses narrative theory and drama theory to analyze the functions that dialogue typically serves in a film.
For the past ten years Mikel J. Koven has focused much of his research on the relationship between urban legends and popular cinema. Film, Folklore, and Urban Legends is a collection of some previously published articles he has written on this subject. This book broadens the debate beyond the narrow confines of folklore studies.
Создавая кино, независимые кинематографисты феминистского толка выступают за то, чтобы интерпретировать мир на экране глазами женщин. Энн Каплан в своей книге приводит анализ четырех фильмов разных периодов истории кинематографа. Она говорит о женских образах в кино, созданных на основании мужских представлений. По мнению автора, мужчины-кинематографисты в своих фильмах рассматривали женщин исключительно в качестве сексуальных объектов. Каплан также описывает попытки представительниц слабого пола из мира кино сломать сложившиеся стереотипы. Энн предполагает, что образ Матери, который был незаслуженно обойден вниманием мужчин, является приемлемым для женщин, желающих, наконец, услышать мнение, не несущее на себе отпечатка пережитков патриархата.
