7 Reasons Why “Dancer in the Dark” Is the Most Depressing Movie of the 21st Century

Dancer In The Dark

This list/article is the sixth in a series arguing that for cinema to be and to be taken seriously as an artform, it must forgo and move beyond Hollywood-like visual-based ways of meaning-formation/understanding into actor-, face-, dialogue-, voice-, emotion-, body-, character-, feeling,-, behavior/psychology-, and tone-based ones. It is focusing on “Dancer in the Dark” (2000, […]

The 25 Most Emotionally Complex Movies of All Time

This list/article is the fifth in a series arguing that for cinema to-be-and-to-be-taken-seriously as an art-form, it must forgo-and-move-beyond Hollywood-like visual-based ways-of-meaning-formation/understanding into actor-, face-, dialogue-, voice-, emo-tion-, body-, character-, feeling,-, behavior/psychology-, and tone-based ones. Readers are strongly advised to read my four previous articles, especially (though-by-no-means-only) the lengthy-theoretical/aesthetic introduction to the first, which obvious-ly-cannot […]

The 25 Most Intelligent Movies of All Time

This list/article is the fourth in a series arguing that for cinema to-be-and-to-be-taken-seriously as an art form, it must forgo and move beyond Hollywood-like visual-based ways of meaning-formation/understanding into actor-, face-, dialogue-, voice-, emo-tion-, body-, character-, feeling,-, behavior/psychology-, and tone-based ones. Readers are strongly advised to read my three previous articles, especially (though by no […]

The 25 Darkest Movies of All Time

melancholia

This list/article is the third in a series attempting to argue that for cinema to be and to be taken seriously as an art form, it must forgo and move beyond Hollywood-like vis-ual-based ways of meaning-formation, understanding, etc. into actor-, face-, dialogue-, voice-, emotion-, body-, character-, feeling,-, psychology-, and tone-based ones. Readers are strongly advised […]

The 25 Best Movie Performances of All Time

Introductory Note: This list/article is the second in a series attempting to argue that for cinema to be and to be taken seriously as an art form, it must forgo and move beyond Hollywood-like visual-based ways of meaning-formation, understanding, etc. into actor-, face-, dialogue-, voice-, emotion-, body-, character-, feeling,-, psychology-, and tone-based ones. Readers are […]