What Is a Genre in Movies

Total Page:16

File Type:pdf, Size:1020Kb

What Is a Genre in Movies 1 What Is A Genre In Movies 28 The system was based upon the structure biologists use to analyze living beings. Regarding actors, some may acquire a reputation linked to a single genre, such as John Wayne the Western or Fred Astaire the musical. Williams wrote a companion book detailing his taxonomy, which claims to be able to identify all feature length narrative films with seven categorizations film type, super genre, macro-genre, micro-genre, voice, and pathway. Williams published a system for screenwriters to conceptualize narrative film genres based on audience expectations. 4 This pattern can be seen with the Western film. The idealist method judges films by predetermined standards. Drawing heavily from the theories of literary-genre criticism, film genres are usually delineated by conventions, iconography, narratives, formats, characters, and actors, all of which can vary according to the genre. Stam has questioned whether genres are really out there in the world or are they really the construction of analysts. , anamorphic widescreen. 10 Some genres have been characterized or known to use particular formats, which refers to the way in which films are shot e. Films such as the musical were created as a form of entertainment during the Great Depression allowing its viewers an escape during tough times. 0 now from the Chrome Web Store. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. While film noir combines German expressionist filming strategies with post World War II ideals; Western films focused on the ideal of the early 20th century. In US, they are mostly related to ones with large U. timeless essences ephemeral, time-bound entities. The setting is the environment including both time and geographic location in which the story and action take place e. to organize films according to type. 20 The perceived genre of a film can change over time; for example, in the 21st century The Great Train Robbery 1903 classes as a key early Western film, but when released, marketing promoted it for its relation to the then-popular genres of the chase film, the railroad film and the crime film. Broader examples include the docufiction and docudrama, which merge the basic categories of fiction and non-fiction documentary. 24 Martin Loop contends that Hollywood films are not pure genres because most Hollywood movies blend the love-oriented plot of the romance genre with other genres. It is likely that such screenplays fall short in originality. 23 The conventions in genre films enable filmmakers to generate them in an industrial, assembly-line fashion, an approach which can be seen in the James Bond spy-films, which all use a formula of lots of action, fancy gadgets, beautiful woman and colourful villains , even though the actors, directors and screenwriters change. While there is an argument that film noir movies could be deemed to be set in an urban setting, in cheap hotels and underworld bars, many classic noirs take place mainly in small towns, suburbia, rural areas, or on the open road. and whether genres are. The editors of filmsite. As such, film genres are also useful in the areas of marketing, film criticism and the analysis of consumption. Film theorist Robert Stam challenged whether genres really exist, or whether they are merely made up by critics. In order to understand the creation and context of each film genre, we must look at its popularity in the context of its place in history. Production attributes, such as the low-budget film, can also be considered a grouping. The mood is the emotional tone of the film, as implied in the names of the comedy film, horror film, or tearjerker. 4 However, in revisionist Westerns of the 1970s, the protagonist becomes an anti-hero who lives in the wilderness to get away from a civilization that is depicted as corrupt, with the villains now integrated into society. 4 Some genre films take genre elements from one genre and place them into the conven- tions of a second genre, such as with The Band Wagon 1953 , which adds film noir and detective film elements into The Girl Hunt ballet. You may need to download version 2. S involvement such as World wars and Vietnam, whereas in other countries, movies related to wars in other historical periods are considered war movies. , the Harry Potter films. For example, horror films have a well-established fanbase that reads horror magazines such as Fangoria. Genres informed by particular target audience s include children s film, teen film, women s film, and chick flick Genres characterized by the type of production include the blockbuster, independent film, and low-budget film, such as the B movie commercial or amateur film noncommercial. 6 Genre also affects how films are broadcast on television, advertised, and organized in video-rental stores. The apriori method uses common generic elements which are identified in advance. 12 Aspects of character include archetypes, stock characters, and the goals and motivations of the central characters. From the earliest days of cinema in the 19th century the term genre already in use in English with reference to works of art or literary production from at least 1770 18 was used by whom. The social conventions method of identifying the genre of a film is based on the accepted cultural consensus within society. Films that are difficult to categorize into a genre are often less successful. Film genres draw on genres from other forms; Western novels existed before the Western film, and musical theatre pre-dated film musicals. 34 For example, according to Williams, a film like Blazing Saddles could be categorized as a Comedy type Western super-genre Musical voice while Anomolisa is a Drama type Slice of Life super-genre Animation voice. you have to know how to transcend the forms genres so you can give the audience a sense of originality and surprise. 22 In the 1920s to 1950s, genre films had clear conventions and iconography, such as the heavy coats worn by gangsters in films like Little Caesar 1931. 21 A key reason that the early Hollywood industrial system from the 1920s to the 1950s favoured genre films is that in Hollywood s industrial mode of production, genre movies are dependable products to market to audiences - they were easy to produce and it was easy for audiences to understand a genre film. While some genres are based on story content the war film , other are borrowed from literature comedy, melodrama or from other media the musical. Films are rarely purely from one genre, which is in keeping with the cinema s diverse and derivative origins, it being a blend of vaudeville, music-hall, theatre, photography and novels. 11 A film s atmosphere includes costumes, props, locations, and the visceral experiences created for the audience. So when watching and analyzing film genres we must remember to remember its true intentions aside from its entertainment value. Horror is designed to elicit spine-chilling, white-knuckled, eye-bulging terror; melodramas are designed to make viewers cry after seeing the misfortunes of the onscreen characters; and pornography is designed to elicit sexual arousal. Some are performer-based Fred Astaire and Ginger Rogers films or budget-based blockbusters, low budget film , while others are based on artistic status the art film , racial identity Race films , location the Western , or sexual orientation Queer cinema. What can I do to prevent this in the future. Another example of a genre changing over time is the popularity of the neo-noir films in the early 2000s Mulholland Drive 2001 , The Man Who Wasn t There 2001 and Far From Heaven 2002 ; are these film noir parodies, a repetition of noir genre tropes, or a re-examination of the noir genre. This is also important to remember when looking at films in the future. If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. There are other methods of dividing films into groups besides genre. Huge widescreens helped Western films to create an expansive setting of the open plains and desert. Cinema technologies are associated with genres. Williams no relation to Linda Williams argues that all narrative feature length films can be categorized as one of eleven super genres Action, Crime, Fantasy, Horror, Romance, Science Fiction, Slice of Life, Sports, Thriller, 2 War and Western. 3 One can also classify films by the tone, theme topic, mood, format, target audience, or budget. The Killer 1989 Hard Boiled 1992 Lawrence of Arabia 1962 Raiders of the Lost Ark 1981 The Princess and the Frog 2009 Chicken Run 2000 South Park Bigger, Longer, Uncut 1999 Shrek 2001 Space Jam 1996 2012 Catch Me If You Can 2002 1960 Titanic 1997 Inglourious Basterds 2009 12 Monkeys 1995 Tomorrowland 2015 Children of Men 2006 Blade Runner 1982 2004. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. For example, auteur critics group films according to their auteur-directors. In 2017, screenwriter Eric R. 4 Not only does genre refer to a type of film or its category, a key role is also played by the expectations of an audience about a film, as well as institutional discourses that create generic structures. 4 In William Park s analysis of film noir, he states that we must view and interpret film for its message with the context of history within our minds; he states that this is how film can truly be understood by its audience.
Recommended publications
  • Mean Girls? the Influence of Gender Portrayals in Teen Movies on Emerging Adults' Gender-Based Attitudes and Beliefs
    MEAN GIRLS? THE INFLUENCE OF GENDER PORTRAYALS IN TEEN MOVIES ON EMERGING ADULTS' GENDER-BASED ATTITUDES AND BELIEFS By Elizabeth Behm-Morawitz and Dana E. Mastro This two-part exploratory study utilized a social cognitive theory frame- work in documenting gender portrayals in teen movies and investigating the influence of exposure to these images on gender-based beließ about friendships, social aggression, and roles of women in society. First, a con- tent analysis of gender portrayals in teen movies was conducted, reveal- ing that female characters are more likely to be portrayed as socially aggressive than male characters. Second, college students were surveyed about their teen movie-viewing habits, gender-related beliefs, and atti- tudes. Findings suggest that viewing teen movies is associated with neg- ative stereotypes about female friendships and gender roles. Research examining the effects of media exposure demonstrates that media consumption has a measurable influence on people's per- ceptions of the real world, and, regardless of the accuracy of these per- ceptions, they are used to help guide subsequent attitudes, judgments, and actions. For example, these results have been yielded for view- ing media representations of race,' the mentally ill,^ and the elderly.^ Past research additionally indicates that watching televised gender portrayals has an effect on individuals' real-world gender-based atti- tudes, beliefs, and behaviors."* Based on this research, and the tenets of social cognitive theory, it would be expected that consumption of teen movies would have an analogous influence on audience members' gen- der-based attitudes and beliefs. Despite the popularity of teen movies, the influence of such films on emerging adults has not been examined.
    [Show full text]
  • Silent Films of Alfred Hitchcock
    The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • Fall 2011 FSCP 81000 – Film History II
    Fall 2011 FSCP 81000 – Film History II, Professor Paula Massood, Wednesday, 2:00-6:00pm, Room C-419, 3 credits [15907] Cross listed with THEA 71600/ART 79500/MALS 76300 This course is devoted to intensive analysis of the international development of cinema as a medium and art form from the early sound years (1930 onward) to the present. We will concentrate on major film tendencies and aesthetic and political developments through a close examination of individual film texts. Subjects covered will include Hollywood filmmaking during the Depression years, French Poetic Realism, Italian Neorealism, melodrama and other postwar Hollywood genres, the rise of global "new waves" (including French, Latin American, and German filmmaking movements from the late-1950s through the 1970s) and modernist tendencies in international cinema. We will also examine the rise of American independent filmmaking, recent global cinema trends, and the effects of new digital technologies on visual and narrative aesthetics. Emphasis will be placed on the major historical currents of each period and on changes in aesthetic, political and industrial context. Required Texts: Required: David A. Cook. A History of Narrative Film. 3rd ed. New York: Norton, 1996. Available through the GC Virtual Bookshop. Scheduled films and supplemental readings ® are on reserve in the library. Recommended books and additional films are listed in the syllabus, available in the Certificate Programs office (Room 5110). Please note: Students are not required to purchase recommended texts or view all the suggested films. Course Requirements: Writing Assignments: 1) 8pp. essay on prearranged topic. (40%) 2) 15pp. final essay on topic of choice.
    [Show full text]
  • Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia Through Popular Culture
    Huq, Rupa. "Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity." Making Sense of Suburbia through Popular Culture. London: Bloomsbury Academic, 2013. 83–108. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781472544759.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 04:19 UTC. Copyright © Rupa Huq 2013. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Pastoral Paradises and Social Realism: Cinematic Representations of Suburban Complexity I never wanted to get into this rat-race but now that I’m in it I think I’d be a fool not to play it just like everyone else plays it. (Gregory Peck as Tom Rath, Th e Man in the Gray Flannel Suit , 1956) Th e cinema in its literal sense has been both a landmark of the suburban-built environment and staple source of popular culture in the post-war era: with the Regals, Gaumonts, UCGs and ABCs off ering relatively cheap escapism from everyday mundanity and routine. Th e cinema has served the function of a venue for suburban courtship for couples and entertainment for fully formed family units with the power to move audiences to the edge of their seats in suspense or to tears – be that laughter or of sadness. While the VHS and advent of domestic video recorders was seen to threaten the very existence of the cinema, many suburban areas have seen the old high street picture palaces replaced/displaced/ succeeded by out-of-town complexes where suburbia has sometimes been the subject on the screen as well as the setting of the multiplex they are screened in.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • THE ANIMATED TRAMP Charlie Chaplin's Influence on American
    THE ANIMATED TRAMP Charlie Chaplin’s Influence on American Animation By Nancy Beiman SLIDE 1: Joe Grant trading card of Chaplin and Mickey Mouse Charles Chaplin became an international star concurrently with the birth and development of the animated cartoon. His influence on the animation medium was immense and continues to this day. I will discuss how American character animators, past and present, have been inspired by Chaplin’s work. HISTORICAL BACKGROUND (SLIDE 2) Jeffrey Vance described Chaplin as “the pioneer subject of today’s modern multimedia marketing and merchandising tactics”, 1 “(SLIDE 3). Charlie Chaplin” comic strips began in 1915 and it was a short step from comic strips to animation. (SLIDE 4) One of two animated Chaplin series was produced by Otto Messmer and Pat Sullivan Studios in 1918-19. 2 Immediately after completing the Chaplin cartoons, (SLIDE 5) Otto Messmer created Felix the Cat who was, by 1925, the most popular animated character in America. Messmer, by his own admission, based Felix’s timing and distinctive pantomime acting on Chaplin’s. 3 But no other animators of the time followed Messmer’s lead. (SLIDE 6) Animator Shamus Culhane wrote that “Right through the transition from silent films to sound cartoons none of the producers of animation paid the slightest attention to… improvements in the quality of live action comedy. Trapped by the belief that animated cartoons should be a kind of moving comic strip, all the producers, (including Walt Disney) continued to turn out films that consisted of a loose story line that supported a group of slapstick gags which were often only vaguely related to the plot….The most astonishing thing is that Walt Disney took so long to decide to break the narrow confines of slapstick, because for several decades Chaplin, Lloyd and Keaton had demonstrated the superiority of good pantomime.” 4 1 Jeffrey Vance, CHAPLIN: GENIUS OF THE CINEMA, p.
    [Show full text]
  • Drawn to Sound
    Introduction ix About the Authors Rebecca Coyle teaches in the Media Program at Southern Cross University, Australia, and has edited two anthologies on Australian cinema soundtracks, Screen Scores (1998) and Reel Tracks (2005). She is currently researching film music production within an Australian Research Council funded project, is Research Director for the School of Arts and Social Sciences, and has recently edited a special issue of Animation Journal (published 2009). Jon Fitzgerald teaches in the contemporary music programme at Southern Cross University, Australia. He has previously written on a variety of musical and screen sound topics and he is the author of Popular Music Theory and Musicianship (1999/2003). He is also an experienced performer and composer. Daniel Goldmark is Associate Professor of music at Case Western Reserve University in Cleveland, Ohio. He is the series editor of the Oxford Music/Media Series, and is the author and/or editor of several books on animation, film, and music, including Tunes for ’Toons: Music and the Hollywood Cartoon (2005). Janet K. HalfJanet Halfyaryaryarddd is Director of Undergraduate Studies at Birmingham City University Conservatoire. Her publications include Danny Elfman’s Batman: A Film Score Guide (2004), an edited volume on Luciano Berio’s Sequenzas (2007), and a wide range of essays on music in film and cult televison. Philip Haywarddd is Director of Research Training at Southern Cross University, Aus- tralia and an adjunct professor in the Department of Media, Music and Cultural Studies at Macquarie University, Sydney. His previous screen sound books include Off the Planet: Music, Sound and Science Fiction Cinema (2005) and Terror Tracks: Music, Sound and Horror Cinema (2009).
    [Show full text]
  • Magical Realism in Mitch Albom's Novel
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori UIN Alauddin Makassar MAGICAL REALISM IN MITCH ALBOM’S NOVEL ”THE FIRST PHONE CALL FROM HEAVEN” Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of Faculty of Adab and Humanities of UIN Alauddin Makassar By PUTRI UTARI Reg. No. 40300111105 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY MAKASSAR 2016 TABLE OF CONTENTS TITLE PAGE ........................................................................................................ i PERNYATAAN KEASLIAN SKRIPSI ............................................................. ii PENGESAHAN SKRIPSI .................................................................................. iii PERSETUJUAN PEMBIMBING ..................................................................... iv APPROVAL SHEET ............................................................................................ v ACKNOWLEGMENTS ..................................................................................... vi TABLE OF CONTENTS .................................................................................. viii ABSTRACT ........................................................................................................... x CHAPTER I INTRODUCTION A. Background ........................................................................................... 1 B. Research Question ................................................................................
    [Show full text]
  • Mandel Nathan. Goodwill Gone Wrong, 2017
    Goodwill Gone Wrong A Proposal for a Thesis in Creative Writing Department of English Bar-Ilan University Nathan Mandel 337808109 Adviser: Prof. Evan Fallenberg Adviser: Ms. Dalia Rosenfeld 13/12/2017 כוונות טובות, נעלמו הצעת מחקר לתיזה בכתיבה יוצרת המחלקה לאנגלית אוניברסיטת בר-אילן נתן מנדל 337808109 מנחה: פרופ' אבן פלנברג מנחה: גב' דליה רוזנפלד 13/12/2017 Table of Contents Page 2: Aims and General Discussion Page 3: Conceptual Background Page 7: Shape of the project Page 9: Bibliography 1 Aims and General Discussion Often, our best intentions go awry and often our truest selves become apparent when attempting to act in someone else’s interests. The focus of this project is to exploit the window to the soul that is opened when one person reaches out their hand to the next. The thesis will consist of a series of short stories arranged to display stories with more emotionally intense climaxes closer to the end of the collection. Similar to Dante descending into the depths of hell to finally meet the devil himself, the arrangement should not reduce the emotional intensity of its stories until the end of the collection. The intended effect is to entice the reader into reading further by creating anticipation for the emotional experience to come. Stories should range from three to fifteen pages. They will written in a conventional style. This entails the opening and inciting incident coming first, followed by the rising action, crisis point, climax, and falling action respectively. The theme of the thesis is best intentions gone awry. Each story should include some focus on acts of kindness that fail horribly.
    [Show full text]
  • Representations of Female Adolescence in the Teen Makeover Film
    Representations of Female Adolescence in the Teen Makeover Film By Kendra Marston A Thesis Submitted to the Victoria University of Wellington in Fulfilment of the Requirements for a Degree of Master of Arts in Film Victoria University of Wellington 2010 Abstract This thesis proposes to analyse the representation of female adolescence in the contemporary teen makeover film. The study will situate this body of films within the context of the current postfeminist age, which I will argue has bred specific fears both of and for the female adolescent. This thesis will examine the construction of the initial wayward makeover protagonist, paying attention to why she needs to be trained in an idealised gender performance that has as its urgent goal the assurance of heteronormativity and ‘healthy’ sex role power relations. I will also analyse the representation of deviant adolescent female characters in terms of how their particular brand of postfeminist female masquerade masks a power and status-oriented agenda. The behaviour of these characters is shown to impact negatively on the peer group within the film, and is particularly dangerous as it threatens to negate the need for romance. 1 Contents Abstract 1 Acknowledgements 3 Introduction 4 Chapter One 23 Chapter Two 62 Chapter Three 86 Chapter Four 112 Conclusion 132 Bibliography 143 Filmography 153 Television Sources 155 Internet Sources 157 2 Acknowledgements I would like to acknowledge my supervisor Sean Redmond for the time he put in to helping me with this thesis, as well as for the encouragement, support and advice offered. 3 Introduction My Moment of Awakening in the Makeover Moment While watching The Princess Diaries (Garry Marshall, 2001) for the purpose of this research, I became fascinated by the particular tone of its makeover scene.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]