That picture of the American prairie is as indelibly fixed in the memory of those who have studied the conquest of the American continent as any later cinema image of the West made in live-oak canyons near Hollywood.

Possibly as a result of Griffith's influence, 1915 was a big year for symbolism, allegories, and parables in the American cinema.

By 1918 we can find a shot of the sky being used to reflect the mood of one of the characters without specific explanation in The Gun Woman ( Frank Borzage ), but it must be emphasized that these examples are very rare, and did not either then, or within the next several years, constitute regular practice in the American cinema.

The American cinema reached its peak of efficiently manufactured glamour and global appeal during this period.

1939, a major year for American cinema, brought such films as The Wizard of Oz and Gone with The Wind.

This allowed the United States film industry to enter the European cinema market, because American films could be sold more cheaply than European productions, since the studios already had recouped their costs in the home market.

In 2007 American director Quentin Tarantino said " New Italian cinema is just depressing.

" He received criticism from the Italian media and actress Sophia Loren who said " How dare he talk about Italian cinema when he doesn't know anything about American cinema?

He refers to British director Christopher Nolan ’ s The Dark Knight and Inception as British rather than as American films, and yet " when a movie which looks quintessentially ‘ British ’, such as The King's Speech, achieves equivalent success, everyone suddenly starts writing articles about the state of our national cinema as if it somehow exists in isolation.

It is this branch of criticism that gives us such categories as the classical Hollywood cinema, the American independent movement, the New American independent movement, the new queer cinema, and the French, German, and Czech new waves.

However, not until the late 1980s or early 1990s did film theory per se achieve much prominence in American universities by displacing the prevailing humanistic, auteur theory that had dominated cinema studies and which had been focused on the practical elements of film writing, production, editing and criticism.

These films, often compared unfavorably by contemporary critics to Lang's earlier works, have since been reevaluated as being integral to the emergence and evolution of American genre cinema, film noir in particular.

In 1975, Hawks was awarded an Honorary Academy Award as " a master American filmmaker whose creative efforts hold a distinguished place in world cinema " and, in 1942, he was nominated for the Academy Award for Best Director for Sergeant York.

*" Jump Around " is used in many television and cinema productions, such as in the 1993 film Mrs. Doubtfire, the 1996 film Happy Gilmore, Black Hawk Down, the TV series My Name Is Earl, and American Dad.

The American Film Institute ranked Bogart as the greatest male star in the history of American cinema.

In 2000, the film was ranked 29th on the American Film Institute's list of the top 100 comedy movies in American cinema and it was selected for preservation in the United States National Film Registry by the Library of Congress as being " culturally, historically, or aesthetically significant ".

In a 1989 review of his work, Vincent Canby of The New York Times called Jarmusch " the most adventurous and arresting film maker to surface in the American cinema in this decade ".

An Academy Award is an award bestowed by the American Academy of Motion Picture Arts and Sciences ( AMPAS ) to recognize excellence of professionals in the film industry, including directors, actors and writers.

Category: American film directors

Category: American film directors

Category: American film directors

Category: American film directors

Category: American television directors

Category: American film directors

Category: American film directors

Category: American music video directors

Category: American film directors

Category: American television directors

Category: American film directors

Category: American film directors

What became known as the popular ' classical Hollywood ' style of editing was developed by early European and American directors, in particular D. W. Griffith in his films such as The Birth of a Nation and Intolerance.

The result of this was that D. W. Griffith's films had at least twice as many shots in them as did those of other American directors.

However, it took some years to catch on with other American film-makers, but by 1913, it was starting to occur with greater frequency in the work of a few directors.

In Europe, some of the most enterprising directors did use cross-cutting sometimes, but they never attained the speed of the many American examples of this technique.

D. W. Griffith had the highest standing amongst American directors in the industry, basically because of the dramatic excitement he got into his films.

A large number of Polish film directors ( e. g., Agnieszka Holland and Janusz Kamiński ) have worked in American studios.

Category: American film directors

Category: American television directors

Category: American film directors

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmuller and had an influence on Martin Scorsese's Mean Streets ( 1973 ), George Lucas's American Graffiti ( 1974 ), Joel Schumacher's St. Elmo's Fire ( 1985 ), and Barry Levinson's Diner ( 1987 ), among many others.

Lucas is one of the American film industry's most financially successful directors / producers, with an estimated net worth of $ 3. 3 billion as of 2012.

Category: American film directors