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 […]