This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
Global in scope and a practical tool for students and teachers of history, Deanne Schultz's "Filmography of World History: A Select, Critical Guide To Feature Films That Engage The Past" includes description and analysis of over 300 historical films. A companion to Grant Tracey's "Filmography of American History," this critical reference book selects movies that represent aspects of world history from the middle ages through the twentieth century. These films adopt as their subject a wide range of historical events, people and societies of Africa, Asia-Pacific, Europe and Canada, and Latin America. Over half of the entries provide extended analysis of the historical interpretation the film brings to the screen. "Filmography of World History" argues for the potential of feature films to teach us about the past and its reconstruction in academe and popular culture.
The book provides several listings of the films, the one shown here is the cross referenced list by time periods. These are divided as followed on this ICM list:
1 - 19 Medieval (c. 600-1500)
20 - 50 Early Modern (c. 1500 - 1800)
51 - 95 Nineteenth Century (1801 - 1900)
96 - 286 Twentieth Century (1901 - 2000)
287 - 292 Contemporary
Note: I have ordered the list chronologically by the years the films deal with within these groups using the years the author has provided. In cases such as WW2 films that deal with the same years, these are ordered alphabetically within these years.
For more detail about the specific years and regions of each movie, check out the book and/or download this excel file I made: [url]http://we.tl/vO29n6ik2d[/url]
Below are the films that have won over five "industry awards," defined as those awards selected by professionals in the movie business. I limited the pool of film industry bodies to those from the following countries: Australia (AACTA, formerly AFI), China (Golden Horse & Golden Rooster), France (Cesar), Germany (Lola), Great Britain (BAFTA), Italy (Donatello), India (Lotus), Japan (Awards of the Japanese Academy), Mexico (Ariel), Russia (Nika), Sweden (Guldbagge), and the United States (Oscar).
All titles are sorted first by total, then by year of release. The leader (at 23) is "The Last Emperor" with 9 Oscars, 9 Donatellos, 3 BAFTAs, 1 Cesar, and an award from the Japanese Academy.
The Film Book provides an overview of cinematic styles and genres; the industry's greatest and most influential directors, and their key works; as well as looking at filmmaking around the world, from Hollywood to Bollywood.
Published by DK.
These are the most entertaining, the most fun, the greatest disaster movies ever made, ranked by movie experts and film fans alike. There is a long history of these kinds of movies in cinema - never to be taken too seriously, always slightly histrionic - for moviegoers who love to watch cities leveled and populations run screaming for their lives. This list includes films that center around a natural disaster, like a storm, as well as other kinds of catastrophe that might cause an apocalypse.
Michael Wood's list from 'Film: A Very Short Introduction' - part of the highly regarded series from Oxford University Press.
"The following list is not arbitrary, since there is substantial agreement about the importance of these works. But it leaves out a large number of very good films, and I offer it to readers only as a set of suggestions, chances of exciting journeys in the world of cinema and the cinema of the world."
The Montreal World Film Festival (WFF) (French: le Festival des Films du Monde or FFM), founded in 1977, is one of Canada's oldest international film festivals and the only competitive film festival in North America accredited by the FIAPF (although the Toronto International Film Festival is North America's only accredited non-competitive festival). The public festival is held annually in late August in the city of Montreal in Quebec. Unlike the Toronto International Film Festival, its counterpart in (prominently) English-speaking Canada, the Montreal World Film Festival focuses on various kinds of films from all over the world, while the former features not just international films, but also more of a focus on Canadian films (including Quebec) and other North American films.
It was supposed to be a simple 366 day challenge, but I turned it into a list of classics and quality films I haven't seen yet. Each month has a different theme, in order to educate myself in different genres and countries and auteur's.
The lesson of this weekend’s box office is two-fold. First of all, we
have another shining example of why ranking is relatively irrelevant.
Disney’s Thor: The Dark World is the top film of the weekend with 38
million (-55 [smiley] , but it is not the top story of the weekend.
Universal’s The Best Man Holiday, Malcolm D. Lee’s sequel to The Best
Man fourteen years after the original, debuted with a genuinely strong
30.6 million. Said number is an unquestionable triumph for the 17m
comedy whether it ends up in first place or ends up in ninth place.
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The second lesson of the weekend is yet another one that should have
been learned by now: Yes, black people go to the movies. We all like to
act surprised over and over when Tyler Perry scores again and again or
when Kevin Hart’s Laugh At My Pain or Let Me Explain break out in
limited release. It’s well-past time we noticed that black audiences
like seeing themselves onscreen. More importantly, and this is arguably
the key, they really like seeing black characters onscreen in starring
roles in films that don’t necessarily revolve around racially-based
adversity. When Hollywood bothers to make films like that,
African-American audiences generally show up in relatively solid
numbers, with periodic blockbuster debuts like this one. Tim Story’s
Think Like A Man, loosely based on Steve Harvey’s dating self-help book,
was a breath of fresh air last April. We all acted stunned when it
debuted with 33 million the weekend before summer, but in retrospect it
shouldn’t have been all that surprising. It was a genuine ensemble
romantic comedy that happened to be filled with black movie stars
without the Tyler Perry package. It was something we hadn’t seen much of
since the early 2000?s. If Think Like A Man was a (new) trendsetter
like The Ring, Malcolm D. Lee’s The Best Man Holiday is The Grudge, the
first major movie to capitalize on what Hollywood hopes may be a genuine
fad. It doesn’t hurt that several cast members of The Best Man have
become bigger stars in the last fourteen years. Taye Diggs, Morris
Chestnut, Regina Hall, Terrence Howard, Sanaa Lathan, Nia Long, and
Harold Perrinea are all “names” in the African American community. The
Best Man Holiday not only operated as a nostalgic sequel for audiences
pining for a time (1997-2004) when films like The Best Man weren’t an
aberration, but also happened to be primed to capitalize on being the
first big ensemble romantic comedy to open after the (we hope)
trend-setter that is Think Like A Man. The film played 75% female, 63%
35-and-older, and 87% black. The debut is slightly less than Think Like A
Man and higher than every Tyler Perry debut save Madea Goes To Jail
(40m). Presuming it has a weekend-to-final multiplier closer to Think
Like A Man (2.72x) than the usual Tyler Perry film (an average of around
2.25x), it’ll end its domestic run with 83m. That’s a huge win and
should make Sony , which has Think Like A Man Too set for June, very
happy. There really isn’t much news of note this weekend. Charlie
Countryman, Shia LaBeouf’s bid at indie respect, grossed just 8,579 on
fifteen screens. Alexander Payne’s Nebraska debuted from Paramount
Vantage on four screens this weekend, for 140,000 and a 35,000
per-screen average. This one is gunning for an Oscar nom for Bruce Dern,
but this strong debut means little one way or another for the
black-and-white dramedy as it copes with a strong Oscar season. Of note,
I would hope that Paramount releases this somewhat wide, as it takes
place in and is arguably about the kind of “flyover” country that
Hollywood often ignores but is ripe for the picking. There is a reason
that Bernie, which was a skewed love letter to Texas hospitality, played
all summer back in 2012. Paramount is at least expanding to ten markets
next Friday. Thor: The Dark World is doing fine, with a solid 38.5m
weekend. That’s a drop of 55%, which is a larger drop than Iron Man (-48
[smiley] , Thor (-47 [smiley] , and The Avengers (-50 [smiley] but
slightly smaller than the likes of Iron Man 2 (-59 [smiley] , Iron Man 3
(58 [smiley] , The Incredible Hulk (-60 [smiley] , and Captain America
(-60 [smiley] . I could argue that perhaps a smaller drop might have
been in order due to little demographic competition and a November
release date, but that’s beside the point. Thor: The Dark World has a
ten-day domestic cume of 147 million, with its worldwide total now at
479m, well above the entire S449m total of the first Thor. It may not
be leggy, but it has big enough numbers, and it’s doing well enough as a
kid-centric entertainment (see that 3.6x second weekend multiplier),
that it doesn’t need legs. Warner Bros.’ Gravity is nearing the end of
its initial theatrical run (I’m expecting an Oscar-centric IMAX
rerelease in early 2014), and it crossed S240 million domestic today
with a S6.2m (-26 [smiley] weekend gross. It’s the fifth-biggest
domestic grosser of 2013, having passed Fast & Furious 6 (S235m) and
its racing towards S500m worldwide. Free Birds earned another S8.3m
(-25 [smiley] for a new total of S42.2m. The good news is that Free
Birds is holding quite well. The bad news is that Free Birds has just
one more weekend before its goose gets cooked by Disney’s Frozen.
Lionsgate’s Ender’s Game held up okay, dropping 40% in weekend three for
a S6.2m frame. But having barely crossed S50m after 17 days (S53m),
it’s another dead would-be franchise. Not that it matters that much with
The Hunger Games: Catching Fire dropping next Friday. Richard Curtis’s
About Time has now earned S11m domestic but S53m worldwide, while Rush
has S26m domestic. Matthew McConaughy’s Oscar-bait drama Dallas Buyers
Club is hanging in there, having earned S1.7m on 184 screens in its
third weekend. Its cume is S3m. Paramount’s Jackass Presents: Bad
Grandpa earned an estimated S7.6 million (-32 [smiley] in its fourth
frame. It’s shown remarkable legs, ending the weekend with S90m, and it
will cross S100m around Thankgiving. CBS CBS +0.36% Films’ Last Vegas
held steady with a S8.87m third weekend (-20 [smiley] . It’s at S46.9m
total and, once it surpasses the S54m gross of The Woman In Black, will
become CBS Films’ biggest domestic earner ever. Oscar bait Captain
Phillips won’t quite make it to S100m by the end of the this weekend
(about S97m cume), but it should happen sometime over the next week,
while presumptive front runner 12 Years A Slave is slowly chugging along
as it retains its position as Best Picture “one to beat”, and it should
be just over/under S25m by the end of today. That’s it for this
weekend. Join us for the debut of Lionsgate’s The Hunger Games: Catching
Fire (review Tuesday or Wednesday), the single-screen debut of Disney’s
Frozen (review Monday or Tuesday), and the wide debut of Disney’s Vince
Vaughn vehicle Delivery Man. . . .