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AFI's 100 Years... 100 Heroes & Villains is a list of the one hundred greatest screen characters (fifty each in the hero and villain categories) as chosen by the American Film Institute in June 2003. It is part of the AFI 100 Years... series. The list was first presented in a CBS special hosted by Arnold Schwarzenegger.
In American films of the Western genre between the 1920s and the 1940s, white hats were often worn by heroes and black hats by villains to symbolize the contrast in good versus evil. [1] The 1903 short film The Great Train Robbery was the first to apply this convention. [2]
The Best Years of Our Lives: William Wyler: 1946 12: Apollo 13: Ron Howard: 1995 13: Hoosiers: David Anspaugh: 1986 14: The Bridge on the River Kwai: David Lean: 1957 15: The Miracle Worker: Arthur Penn: 1962 16: Norma Rae: Martin Ritt: 1979 17: One Flew Over the Cuckoo's Nest: Miloš Forman: 1975 18: The Diary of Anne Frank: George Stevens ...
A swashbuckler film is characterised by swordfighting and adventurous heroic characters, known as swashbucklers. While morality is typically clear-cut, heroes and villains alike often, but not always, follow a code of honor. Some swashbuckler films have romantic elements, most frequently a damsel in distress. Both real and fictional historical ...
Films about human sacrifice, the act of killing one or more humans as part of a ritual, which is usually intended to please or appease gods, a human ruler, public or jurisdictional demands for justice by capital punishment, an authoritative/priestly figure or spirits of dead ancestors or as a retainer sacrifice, wherein a monarch's servants are killed in order for them to continue to serve ...
The Devil, Le Manoir du Diable Three minutes is all it took to scare the bejesus out of people in 1896. Granted, film for entertainment was a relatively new thing to the world at this stage, but ...
The white savior is a cinematic trope in which a white central character rescues non-white (often less prominent) characters from unfortunate circumstances. [1] This recurs in an array of genres in American cinema, wherein a white protagonist is portrayed as a messianic figure who often gains some insight or introspection in the course of rescuing non-white characters (or occasionally non ...
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