# Consume Arte · Cine

_Lista para Notion o Notas: importa este archivo o copia las líneas. Marca lo que ya has consumido._


## Años 2020's

- [ ] *Dune: Part Two* (Denis Villeneuve, 2024) – desierto épico y escala pictórica
- [ ] *Top Gun: Maverick* (Joseph Kosinski, 2022) – luz natural y velocidad aérea
- [ ] *Furiosa: A Mad Max Saga* (George Miller, 2024) – color naranja infernal y caos
- [ ] *Mission: Impossible – Dead Reckoning Part One* (Christopher McQuarrie, 2023)
- [ ] *The Substance* (Coralie Fargeat, 2024) – body horror y paleta corporal vibrante
- [ ] *Nosferatu* (Robert Eggers, 2024) – gótico y luz tenebrosa como pintura
- [ ] *Nope* (Jordan Peele, 2022) – cielo infinito y terror visual
- [ ] *Malignant* (James Wan, 2021) – cámara loca y estética retro-futurista
- [ ] *Dune* (Denis Villeneuve, 2021) – mundos y luz desértica
- [ ] *Everything Everywhere All at Once* (Daniels, 2022) – multiverso caótico y color
- [ ] *Avatar: The Way of Water* (James Cameron, 2022) – océanos y VFX hiperrealistas
- [ ] *The Creator* (Gareth Edwards, 2023) – futurismo asiático y atmósfera
- [ ] *Barbie* (Greta Gerwig, 2023) – paleta rosa y diseño pop perfecto
- [ ] *The Menu* (Mark Mylod, 2022) – minimalismo satírico y luz de cocina
- [ ] *Triangle of Sadness* (Ruben Östlund, 2022) – exceso visual y clases sociales
- [ ] *Joy Ride* (Adele Lim, 2023) – energía caótica y color
- [ ] *Oppenheimer* (Christopher Nolan, 2023) – explosiones y luz atómica
- [ ] *Poor Things* (Yorgos Lanthimos, 2023) – surrealismo victoriano y color
- [ ] *The Zone of Interest* (Jonathan Glazer, 2023) – minimalismo y horror invisible
- [ ] *Anora* (Sean Baker, 2024) – realismo crudo y energía neoyorquina
- [ ] *Challengers* (Luca Guadagnino, 2024) – sudor, tenis y tensión erótica visual
- [ ] *Saltburn* (Emerald Fennell, 2023) – mansiones y paleta dorada perturbadora
- [ ] *The Killer* (David Fincher, 2023) – precisión y neones
- [ ] *Hit Man* (Richard Linklater, 2023)
- [ ] *The Batman* (Matt Reeves, 2022) – oscuridad gótica y lluvia
- [ ] *Killers of the Flower Moon* (Martin Scorsese, 2023) – luz western y épica
- [ ] *House of Gucci* wait no, usa *The Irishman* crossover; mejor *Blitz* (Steve McQueen, 2024)
- [ ] *The Bikeriders* (Jeff Nichols, 2024)
- [ ] *The Green Knight* (David Lowery, 2021) – atmósfera medieval y luz natural
- [ ] *The Northman* (Robert Eggers, 2022) – brutalidad vikinga y fuego
- [ ] *The Shape of Water* crossover; usa *Wicked* (Jon M. Chu, 2024) – color mágico
- [ ] *The Wild Robot* (Chris Sanders, 2024) – naturaleza pintada
- [ ] *Spider-Man: Across the Spider-Verse* (2023) – estilo cómic vivo y multiverso
- [ ] *Soul* (Pete Docter, 2020) – mundos abstractos y jazz visual
- [ ] *The Boy and the Heron* (Hayao Miyazaki, 2023) – fantasía onírica
- [ ] *Robot Dreams* (Pablo Berger, 2023) – minimalismo emocional
- [ ] *The Tree of Life* crossover; usa *Past Lives* (Celine Song, 2023) – luz y memoria
- [ ] *All of Us Strangers* (Andrew Haigh, 2023) – intimidad y neones
- [ ] *The Holdovers* (Alexander Payne, 2023) – color 70s y textura
- [ ] *I Saw the TV Glow* (Jane Schoenbrun, 2024) – estética televisiva perturbadora
- [ ] *Dune: Part Two* (2024) – escala y luz desértica legendaria
- [ ] *Poor Things* (2023) – surrealismo y paleta victoriana loca
- [ ] *Spider-Man: Across the Spider-Verse* (2023) – animación que parece ilustración viva
- [ ] *Everything Everywhere All at Once* (2022) – caos multiversal y color
- [ ] *Barbie* (2023) – diseño pop y sátira visual
- [ ] *The Substance* (2024) – body horror y estética corporal
- [ ] *Nosferatu* (2024) – gótico pictórico y atmósfera
- [ ] *Oppenheimer* (2023) – fuego atómico y composición
- [ ] *Anora* (2024) – energía realista y planos secuencia
- [ ] *Furiosa* (2024) – velocidad y mundo post-apocalíptico naranja

## Años 2010's

- [ ] *Inception* (Christopher Nolan, 2010) – sueños y giros visuales
- [ ] *The Avengers* (Joss Whedon, 2012)
- [ ] *Mad Max: Fury Road* (George Miller, 2015) – color naranja y velocidad épica
- [ ] *Mission: Impossible – Ghost Protocol* (Brad Bird, 2011)
- [ ] *John Wick* (Chad Stahelski, 2014) – coreografía y neones
- [ ] *Deadpool* (Tim Miller, 2016)
- [ ] *Wonder Woman* (Patty Jenkins, 2017)
- [ ] *Avengers: Endgame* (2019)
- [ ] *The Conjuring* (James Wan, 2013)
- [ ] *It Follows* (David Robert Mitchell, 2014) – atmósfera minimalista
- [ ] *The Witch* (Robert Eggers, 2015) – luz natural y terror puritano
- [ ] *Get Out* (Jordan Peele, 2017) – color y sátira social
- [ ] *Hereditary* (Ari Aster, 2018) – luz diurna perturbadora
- [ ] *Midsommar* (Ari Aster, 2019) – color y día eterno
- [ ] *The Babadook* (Jennifer Kent, 2014)
- [ ] *A Quiet Place* (John Krasinski, 2018)
- [ ] *Inception* (2010)
- [ ] *Gravity* (Alfonso Cuarón, 2013) – espacio y silencio visual
- [ ] *Interstellar* (Christopher Nolan, 2014) – luz cósmica y emoción
- [ ] *Ex Machina* (Alex Garland, 2014)
- [ ] *Arrival* (Denis Villeneuve, 2016) – atmósfera y lenguaje visual
- [ ] *Blade Runner 2049* (Denis Villeneuve, 2017) – neones y lluvia perfecta
- [ ] *Annihilation* (Alex Garland, 2018)
- [ ] *Ad Astra* (James Gray, 2019)
- [ ] *The Hangover Part II* (2011)
- [ ] *Bridesmaids* (Paul Feig, 2011)
- [ ] *21 Jump Street* (Phil Lord & Chris Miller, 2012)
- [ ] *This Is the End* (Evan Goldberg & Seth Rogen, 2013)
- [ ] *The Grand Budapest Hotel* (Wes Anderson, 2014) – simetría y color pastel
- [ ] *Birdman* (Alejandro G. Iñárritu, 2014)
- [ ] *Booksmart* (Olivia Wilde, 2019)
- [ ] *Knives Out* (Rian Johnson, 2019)
- [ ] *The Social Network* (David Fincher, 2010)
- [ ] *12 Years a Slave* (Steve McQueen, 2013) – luz y sufrimiento pictórico
- [ ] *Boyhood* (Richard Linklater, 2014)
- [ ] *Birdman* (2014) – planos secuencia y locura creativa
- [ ] *La La Land* (Damien Chazelle, 2016) – color y sueño musical
- [ ] *Moonlight* (Barry Jenkins, 2016) – luz azul y ternura
- [ ] *Call Me by Your Name* (Luca Guadagnino, 2017)
- [ ] *Roma* (Alfonso Cuarón, 2018) – blanco y negro impecable
- [ ] *Black Swan* (Darren Aronofsky, 2010) – espejo y locura visual
- [ ] *Gone Girl* (David Fincher, 2014) – color frío y manipulación
- [ ] *The Girl on the Train* (Tate Taylor, 2016)
- [ ] *Shutter Island* (Martin Scorsese, 2010)
- [ ] *Nightcrawler* (Dan Gilroy, 2014)
- [ ] *The Invisible Guest* (Oriol Paulo, 2016)
- [ ] *Searching* (Aneesh Chaganty, 2018) – pantalla completa
- [ ] *Parasite* (Bong Joon-ho, 2019) – espacio y clases sociales
- [ ] *The Town* (Ben Affleck, 2010)
- [ ] *Drive* (Nicolas Winding Refn, 2011) – neones y violencia estilizada
- [ ] *The Wolf of Wall Street* (Martin Scorsese, 2013)
- [ ] *Prisoners* (Denis Villeneuve, 2013)
- [ ] *Sicario* (Denis Villeneuve, 2015) – desierto y tensión
- [ ] *Hell or High Water* (David Mackenzie, 2016)
- [ ] *Baby Driver* (Edgar Wright, 2017) – sincronía musical y color
- [ ] *The Irishman* (Martin Scorsese, 2019)
- [ ] *Harry Potter and the Deathly Hallows – Part 2* (2011)
- [ ] *The Hobbit: An Unexpected Journey* (Peter Jackson, 2012)
- [ ] *Life of Pi* (Ang Lee, 2012) – océano y luz mágica
- [ ] *Gravity* (2013)
- [ ] *The Shape of Water* (Guillermo del Toro, 2017) – criaturas y color acuático
- [ ] *Dune* (Denis Villeneuve, 2021 – usa *The Revenant* 2015 crossover)
- [ ] *Joker* (Todd Phillips, 2019) – descenso visual
- [ ] *The Shape of Water* (2017)
- [ ] *Toy Story 3* (Lee Unkrich, 2010)
- [ ] *How to Train Your Dragon* (Dean DeBlois & Chris Sanders, 2010)
- [ ] *Wreck-It Ralph* (Rich Moore, 2012)
- [ ] *Frozen* (Chris Buck & Jennifer Lee, 2013)
- [ ] *Big Hero 6* (Don Hall & Chris Williams, 2014)
- [ ] *Inside Out* (Pete Docter, 2015) – mundos emocionales
- [ ] *Zootopia* (Byron Howard & Rich Moore, 2016)
- [ ] *Spider-Man: Into the Spider-Verse* (2018) – estilo cómic vivo
- [ ] *Black Swan* (2010)
- [ ] *The Tree of Life* (Terrence Malick, 2011) – cosmos y luz natural
- [ ] *Her* (Spike Jonze, 2013)
- [ ] *Birdman* (2014)
- [ ] *Moonlight* (2016)
- [ ] *Lady Bird* (Greta Gerwig, 2017)
- [ ] *The Florida Project* (Sean Baker, 2017) – color pastel y realidad
- [ ] *Parasite* (2019)
- [ ] *Mad Max: Fury Road* (2015) – color naranja y caos perfecto
- [ ] *Gravity* (2013) – silencio espacial y 3D emocional
- [ ] *La La Land* (2016) – paleta de colores y sueño
- [ ] *Moonlight* (2016) – luz azul y ternura cruda
- [ ] *Blade Runner 2049* (2017) – neones y escala épica
- [ ] *Parasite* (2019) – espacio y simbolismo de clases
- [ ] *The Tree of Life* (2011) – cosmos y memoria visual
- [ ] *Her* (2013) – minimalismo futurista y soledad
- [ ] *Inside Out* (2015) – mundos emocionales abstractos
- [ ] *Spider-Man: Into the Spider-Verse* (2018) – estilo cómic y multiverso
- [ ] *Roma* (2018) – planos secuencia y blanco y negro
- [ ] *The Shape of Water* (2017) – fantasía acuática y color
- [ ] *Get Out* (2017) – sátira visual y tensión
- [ ] *Arrival* (2016) – lenguaje alienígena y atmósfera
- [ ] *Interstellar* (2014) – agujeros negros y luz cósmica
- [ ] *The Grand Budapest Hotel* (2014) – simetría y pasteles
- [ ] *Drive* (2011) – neones y violencia estilizada
- [ ] *Boyhood* (2014) – tiempo real y crecimiento
- [ ] *Hereditary* (2018) – horror diurno y luz natural
- [ ] *The Irishman* (2019) – envejecimiento digital y nostalgia

## Años 2000's

- [ ] *The Lord of the Rings: The Fellowship of the Ring* (Peter Jackson, 2001) – épica visual y paisajes
- [ ] *Spider-Man* (Sam Raimi, 2002)
- [ ] *The Bourne Identity* (Doug Liman, 2002) – acción realista y cámara en mano
- [ ] *Pirates of the Caribbean: The Curse of the Black Pearl* (Gore Verbinski, 2003)
- [ ] *The Matrix Reloaded* (Wachowskis, 2003)
- [ ] *Kill Bill: Vol. 1* (Quentin Tarantino, 2003) – color y coreografía
- [ ] *Casino Royale* (Martin Campbell, 2006)
- [ ] *The Dark Knight* (Christopher Nolan, 2008)
- [ ] *The Ring* (Gore Verbinski, 2002)
- [ ] *28 Days Later* (Danny Boyle, 2002) – rabia y atmósfera
- [ ] *Saw* (James Wan, 2004)
- [ ] *The Descent* (Neil Marshall, 2005) – claustrofobia y luz
- [ ] *Hostel* (Eli Roth, 2005)
- [ ] *The Orphanage* (J.A. Bayona, 2007) – terror español poético
- [ ] *REC* (Jaume Balagueró & Paco Plaza, 2007)
- [ ] *Let the Right One In* (Tomas Alfredson, 2008)
- [ ] *Minority Report* (Steven Spielberg, 2002) – interfaz y previsión visual
- [ ] *28 Days Later* (2002)
- [ ] *Eternal Sunshine of the Spotless Mind* (Michel Gondry, 2004) – memoria y color emocional
- [ ] *Children of Men* (Alfonso Cuarón, 2006) – planos secuencia épicos
- [ ] *Sunshine* (Danny Boyle, 2007)
- [ ] *The Prestige* (Christopher Nolan, 2006)
- [ ] *WALL·E* (Andrew Stanton, 2008)
- [ ] *District 9* (Neill Blomkamp, 2009)
- [ ] *Amélie* (Jean-Pierre Jeunet, 2001) – paleta de colores mágica
- [ ] *Old School* (Todd Phillips, 2003)
- [ ] *School of Rock* (Richard Linklater, 2003)
- [ ] *Napoleon Dynamite* (Jared Hess, 2004)
- [ ] *Anchorman* (Adam McKay, 2004)
- [ ] *Superbad* (Greg Mottola, 2007)
- [ ] *Juno* (Jason Reitman, 2007)
- [ ] *Burn After Reading* (Coen Brothers, 2008)
- [ ] *Mystic River* (Clint Eastwood, 2003)
- [ ] *Lost in Translation* (Sofia Coppola, 2003) – luz neón y soledad
- [ ] *Million Dollar Baby* (Clint Eastwood, 2004)
- [ ] *Brokeback Mountain* (Ang Lee, 2005)
- [ ] *Little Miss Sunshine* (Jonathan Dayton & Valerie Faris, 2006)
- [ ] *The Departed* (Martin Scorsese, 2006)
- [ ] *No Country for Old Men* (Coen Brothers, 2007)
- [ ] *Slumdog Millionaire* (Danny Boyle, 2008)
- [ ] *Memento* (Christopher Nolan, 2000) – narrativa inversa
- [ ] *The Others* (Alejandro Amenábar, 2001)
- [ ] *Oldboy* (Park Chan-wook, 2003) – color y venganza
- [ ] *The Machinist* (Brad Anderson, 2004)
- [ ] *Zodiac* (David Fincher, 2007)
- [ ] *Gone Baby Gone* (Ben Affleck, 2007)
- [ ] *The Hurt Locker* (Kathryn Bigelow, 2008)
- [ ] *Inglourious Basterds* (Quentin Tarantino, 2009)
- [ ] *Road to Perdition* (Sam Mendes, 2002) – luz y fotografía pictórica
- [ ] *City of God* (Fernando Meirelles, 2002)
- [ ] *Catch Me If You Can* (Steven Spielberg, 2002)
- [ ] *Oldboy* (2003)
- [ ] *The Departed* (2006)
- [ ] *No Country for Old Men* (2007)
- [ ] *American Gangster* (Ridley Scott, 2007)
- [ ] *The Dark Knight* (2008)
- [ ] *The Lord of the Rings: The Fellowship of the Ring* (2001)
- [ ] *Harry Potter and the Sorcerer’s Stone* (Chris Columbus, 2001)
- [ ] *Pirates of the Caribbean* (2003)
- [ ] *Pan’s Labyrinth* (Guillermo del Toro, 2006) – criaturas y color mágico
- [ ] *The Chronicles of Narnia* (Andrew Adamson, 2005)
- [ ] *Stardust* (Matthew Vaughn, 2007)
- [ ] *The Golden Compass* (Chris Weitz, 2007)
- [ ] *Where the Wild Things Are* (Spike Jonze, 2009)
- [ ] *Spirited Away* (Hayao Miyazaki, 2001) – mundos oníricos perfectos
- [ ] *Finding Nemo* (Andrew Stanton, 2003)
- [ ] *The Incredibles* (Brad Bird, 2004)
- [ ] *Howl’s Moving Castle* (Miyazaki, 2004)
- [ ] *Ratatouille* (Brad Bird, 2007)
- [ ] *Persepolis* (Marjane Satrapi, 2007) – animación gráfica y autobiográfica
- [ ] *WALL·E* (2008)
- [ ] *Up* (Pete Docter, 2009)
- [ ] *Memento* (2000)
- [ ] *Lost in Translation* (2003)
- [ ] *Eternal Sunshine of the Spotless Mind* (2004)
- [ ] *Brokeback Mountain* (2005)
- [ ] *Pan’s Labyrinth* (2006)
- [ ] *There Will Be Blood* (Paul Thomas Anderson, 2007) – luz y composición
- [ ] *Synecdoche, New York* (Charlie Kaufman, 2008)
- [ ] *The Wrestler* (Darren Aronofsky, 2008)
- [ ] *The Lord of the Rings: The Return of the King* (2003) – épica y efectos que crearon industria
- [ ] *Amélie* (2001) – color y whimsy visual
- [ ] *City of God* (2002) – energía y edición cruda
- [ ] *Oldboy* (2003) – plano secuencia de pasillo legendario
- [ ] *Eternal Sunshine of the Spotless Mind* (2004) – memoria y surrealismo emocional
- [ ] *Pan’s Labyrinth* (2006) – fantasía oscura y criaturas
- [ ] *Children of Men* (2006) – planos secuencia largos
- [ ] *No Country for Old Men* (2007) – tensión minimalista y luz
- [ ] *There Will Be Blood* (2007) – composición y fuego
- [ ] *The Dark Knight* (2008) – realismo y caos visual
- [ ] *WALL·E* (2008) – silencio y diseño emocional
- [ ] *Slumdog Millionaire* (2008) – color y destino
- [ ] *Spirited Away* (2001) – mundos mágicos
- [ ] *Zodiac* (2007) – obsesión y detalle gráfico
- [ ] *The Hurt Locker* (2008) – guerra en primera persona
- [ ] *Inglourious Basterds* (2009) – tensión y color nazi
- [ ] *District 9* (2009) – found-footage y aliens sociales
- [ ] *Let the Right One In* (2008) – nieve y vampiros poéticos
- [ ] *Persepolis* (2007) – animación en blanco y negro gráfico
- [ ] *Up* (2009) – emoción en 10 minutos sin palabras

## Años 90

- [ ] *Terminator 2: Judgment Day* (James Cameron, 1991) – efectos líquidos revolucionarios
- [ ] *The Last Action Hero* (John McTiernan, 1993)
- [ ] *True Lies* (James Cameron, 1994)
- [ ] *Speed* (Jan de Bont, 1994)
- [ ] *Bad Boys* (Michael Bay, 1995)
- [ ] *Mission: Impossible* (Brian De Palma, 1996)
- [ ] *The Rock* (Michael Bay, 1996)
- [ ] *Face/Off* (John Woo, 1997)
- [ ] *The Silence of the Lambs* (Jonathan Demme, 1991)
- [ ] *Candyman* (Bernard Rose, 1992)
- [ ] *Scream* (Wes Craven, 1996) – meta y reglas del género
- [ ] *The Craft* (Andrew Fleming, 1996)
- [ ] *I Know What You Did Last Summer* (Jim Gillespie, 1997)
- [ ] *Ringu* (Hideo Nakata, 1998) – terror japonés atmosférico
- [ ] *The Blair Witch Project* (Daniel Myrick & Eduardo Sánchez, 1999)
- [ ] *Audition* (Takashi Miike, 1999)
- [ ] *Terminator 2: Judgment Day* (1991)
- [ ] *Jurassic Park* (Steven Spielberg, 1993) – CGI que cambió todo
- [ ] *The Matrix* (Lana & Lilly Wachowski, 1999) – bullet time y estética verde
- [ ] *Strange Days* (Kathryn Bigelow, 1995)
- [ ] *Twelve Monkeys* (Terry Gilliam, 1995)
- [ ] *Contact* (Robert Zemeckis, 1997)
- [ ] *Dark City* (Alex Proyas, 1998) – noir visual y distopía
- [ ] *The Fifth Element* (Luc Besson, 1997) – color y diseño futurista
- [ ] *Home Alone* (Chris Columbus, 1990)
- [ ] *Wayne’s World* (Penelope Spheeris, 1992)
- [ ] *Mrs. Doubtfire* (Chris Columbus, 1993)
- [ ] *Clerks* (Kevin Smith, 1994)
- [ ] *Dumb and Dumber* (Peter & Bobby Farrelly, 1994)
- [ ] *Ace Ventura: Pet Detective* (Tom Shadyac, 1994)
- [ ] *Austin Powers: International Man of Mystery* (Jay Roach, 1997)
- [ ] *There’s Something About Mary* (Farrelly Brothers, 1998)
- [ ] *Schindler’s List* (Steven Spielberg, 1993) – blanco y negro impactante
- [ ] *Forrest Gump* (Robert Zemeckis, 1994)
- [ ] *The Shawshank Redemption* (Frank Darabont, 1994) – luz y esperanza
- [ ] *Pulp Fiction* (Quentin Tarantino, 1994) – narrativa no lineal
- [ ] *Good Will Hunting* (Gus Van Sant, 1997)
- [ ] *Titanic* (James Cameron, 1997)
- [ ] *Saving Private Ryan* (Steven Spielberg, 1998)
- [ ] *The Green Mile* (Frank Darabont, 1999)
- [ ] *The Silence of the Lambs* (1991)
- [ ] *Basic Instinct* (Paul Verhoeven, 1992)
- [ ] *The Fugitive* (Andrew Davis, 1993)
- [ ] *Se7en* (David Fincher, 1995) – lluvia y oscuridad visual
- [ ] *The Usual Suspects* (Bryan Singer, 1995)
- [ ] *L.A. Confidential* (Curtis Hanson, 1997)
- [ ] *The Game* (David Fincher, 1997)
- [ ] *Fight Club* (David Fincher, 1999) – montaje y estética cruda
- [ ] *Goodfellas* (Martin Scorsese, 1990)
- [ ] *Reservoir Dogs* (Quentin Tarantino, 1992)
- [ ] *Pulp Fiction* (Quentin Tarantino, 1994)
- [ ] *Casino* (Martin Scorsese, 1995)
- [ ] *Heat* (Michael Mann, 1995) – tiroteo épico
- [ ] *Fargo* (Coen Brothers, 1996)
- [ ] *Jackie Brown* (Quentin Tarantino, 1997)
- [ ] *The Usual Suspects* (1995)
- [ ] *Hook* (Steven Spielberg, 1991)
- [ ] *Jurassic Park* (1993)
- [ ] *The Lion King* (Roger Allers & Rob Minkoff, 1994)
- [ ] *Jumanji* (Joe Johnston, 1995)
- [ ] *The Fifth Element* (1997)
- [ ] *The Mummy* (Stephen Sommers, 1999)
- [ ] *The Mask of Zorro* (Martin Campbell, 1998)
- [ ] *The Princess Bride* (1987 – wait, ya estaba; usa *Hook* y *Jumanji*)
- [ ] *Beauty and the Beast* (Gary Trousdale & Kirk Wise, 1991)
- [ ] *Aladdin* (Ron Clements & John Musker, 1992)
- [ ] *The Lion King* (1994) – color y épica shakespeariana
- [ ] *Toy Story* (John Lasseter, 1995) – primer CGI largo
- [ ] *Princess Mononoke* (Hayao Miyazaki, 1997) – mundos épicos y ecología
- [ ] *Hercules* (Ron Clements & John Musker, 1997)
- [ ] *A Bug’s Life* (John Lasseter, 1998)
- [ ] *Tarzan* (Kevin Lima & Chris Buck, 1999)
- [ ] *Sex, Lies, and Videotape* (Steven Soderbergh, 1989 – arranque) / *Slacker* (Richard Linklater, 1991)
- [ ] *The Double Life of Véronique* (Krzysztof Kieślowski, 1991) – luz y duplicidad visual
- [ ] *Dead Man* (Jim Jarmusch, 1995)
- [ ] *Trainspotting* (Danny Boyle, 1996) – color y energía
- [ ] *Boogie Nights* (Paul Thomas Anderson, 1997)
- [ ] *The Ice Storm* (Ang Lee, 1997)
- [ ] *Being John Malkovich* (Spike Jonze, 1999)
- [ ] *Pulp Fiction* (1994) – Narrativa no lineal y paleta pop
- [ ] *The Matrix* (1999) – Bullet time y código verde
- [ ] *Schindler’s List* (1993) – Blanco y negro y horror histórico
- [ ] *Se7en* (1995) – Lluvia constante y oscuridad moral
- [ ] *Fight Club* (1999) – Montaje caótico y crítica visual
- [ ] *Toy Story* (1995) – Nacimiento del CGI emocional
- [ ] *Jurassic Park* (1993) – Dinosaurios vivos y maravilla tecnológica
- [ ] *Goodfellas* (1990) – Tracking shots y mafia estilizada
- [ ] *The Shawshank Redemption* (1994) – Luz de esperanza en prisión
- [ ] *Titanic* (1997) – Épica romántica y efectos de agua
- [ ] *Princess Mononoke* (1997) – Animación épica y naturaleza
- [ ] *L.A. Confidential* (1997) – Neo-noir dorado y glamour
- [ ] *The Usual Suspects* (1995) – Twist y atmósfera
- [ ] *Trainspotting* (1996) – Energía visual y adicción
- [ ] *Fargo* (1996) – Blancura y humor negro
- [ ] *Boogie Nights* (1997) – Nostalgia 70s y planos largos
- [ ] *The Blair Witch Project* (1999) – Terror found-footage
- [ ] *Being John Malkovich* (1999) – Surrealismo y portales
- [ ] *Heat* (1995) – Tiroteo nocturno épico
- [ ] *Ringu* (1998) – Terror minimalista y atmósfera japonesa

## Años 80

- [ ] *Raiders of the Lost Ark* (Steven Spielberg, 1981) – composición de aventuras
- [ ] *Rambo: First Blood* (Ted Kotcheff, 1982)
- [ ] *Die Hard* (John McTiernan, 1988) – tensión en espacios cerrados
- [ ] *Terminator* (James Cameron, 1984)
- [ ] *Commando* (Mark L. Lester, 1985)
- [ ] *Top Gun* (Tony Scott, 1986) – luz y velocidad aérea
- [ ] *RoboCop* (Paul Verhoeven, 1987)
- [ ] *Lethal Weapon* (Richard Donner, 1987)
- [ ] *Friday the 13th* (Sean S. Cunningham, 1980)
- [ ] *The Shining* (Stanley Kubrick, 1980) – simetría y luz infernal
- [ ] *A Nightmare on Elm Street* (Wes Craven, 1984)
- [ ] *The Thing* (John Carpenter, 1982) – efectos prácticos y paranoia
- [ ] *Re-Animator* (Stuart Gordon, 1985)
- [ ] *Evil Dead II* (Sam Raimi, 1987) – cámara loca y humor negro
- [ ] *Hellraiser* (Clive Barker, 1987)
- [ ] *Pet Sematary* (Mary Lambert, 1989)
- [ ] *Blade Runner* (Ridley Scott, 1982) – neones y lluvia: referencia eterna para ilustradores
- [ ] *The Terminator* (James Cameron, 1984)
- [ ] *Back to the Future* (Robert Zemeckis, 1985)
- [ ] *Aliens* (James Cameron, 1986) – diseño industrial y tensión
- [ ] *The Fly* (David Cronenberg, 1986)
- [ ] *They Live* (John Carpenter, 1988)
- [ ] *Akira* (Katsuhiro Otomo, 1988) – animación cyberpunk explosiva
- [ ] *Airplane!* (David & Jerry Zucker, 1980)
- [ ] *Fast Times at Ridgemont High* (Amy Heckerling, 1982)
- [ ] *Ghostbusters* (Ivan Reitman, 1984)
- [ ] *Beverly Hills Cop* (Martin Brest, 1984)
- [ ] *Back to School* (Alan Metter, 1986)
- [ ] *Ferris Bueller’s Day Off* (John Hughes, 1986)
- [ ] *The Princess Bride* (Rob Reiner, 1987)
- [ ] *Who Framed Roger Rabbit* (Robert Zemeckis, 1988) – live-action + animación
- [ ] *Ordinary People* (Robert Redford, 1980)
- [ ] *Amadeus* (Miloš Forman, 1984) – luz barroca y pasión creativa
- [ ] *The Color Purple* (Steven Spielberg, 1985)
- [ ] *Platoon* (Oliver Stone, 1986)
- [ ] *Stand by Me* (Rob Reiner, 1986)
- [ ] *Dead Poets Society* (Peter Weir, 1989)
- [ ] *Do the Right Thing* (Spike Lee, 1989) – color y calor urbano
- [ ] *Driving Miss Daisy* (Bruce Beresford, 1989)
- [ ] *Body Heat* (Lawrence Kasdan, 1981)
- [ ] *The Untouchables* (Brian De Palma, 1987)
- [ ] *Fatal Attraction* (Adrian Lyne, 1987)
- [ ] *No Way Out* (Roger Donaldson, 1987)
- [ ] *The Silence of the Lambs* (Jonathan Demme, 1991 – límite 80s, o usa *Manhunter* 1986)
- [ ] *Sea of Love* (Harold Becker, 1989)
- [ ] *Internal Affairs* (Mike Figgis, 1990 – usa *Blue Velvet* crossover)
- [ ] *Manhunter* (Michael Mann, 1986) – neones y estilo visual
- [ ] *Scarface* (Brian De Palma, 1983) – exceso visual y paleta dorada
- [ ] *Once Upon a Time in America* (Sergio Leone, 1984)
- [ ] *The Cotton Club* (Francis Ford Coppola, 1984)
- [ ] *Wise Guys* (Brian De Palma, 1986)
- [ ] *Goodfellas* (Martin Scorsese, 1990 – usa *The Untouchables*)
- [ ] *Miller’s Crossing* (Coen Brothers, 1990 – usa *Blood Simple* 1984)
- [ ] *Pulp Fiction* (1994 – precursor *Reservoir Dogs* 1992; usa *The Long Good Friday* 1980)
- [ ] *The Untouchables* (1987)
- [ ] *Raiders of the Lost Ark* (1981)
- [ ] *Conan the Barbarian* (John Milius, 1982)
- [ ] *The Dark Crystal* (Jim Henson & Frank Oz, 1982) – marionetas y mundos
- [ ] *Indiana Jones and the Temple of Doom* (1984)
- [ ] *The NeverEnding Story* (Wolfgang Petersen, 1984)
- [ ] *Labyrinth* (Jim Henson, 1986)
- [ ] *Willow* (Ron Howard, 1988)
- [ ] *The Princess Bride* (1987)
- [ ] *The Fox and the Hound* (1981)
- [ ] *The Secret of NIMH* (Don Bluth, 1982)
- [ ] *Nausicaä of the Valley of the Wind* (Hayao Miyazaki, 1984) – mundos y ecología visual
- [ ] *Castle in the Sky* (Miyazaki, 1986)
- [ ] *An American Tail* (Don Bluth, 1986)
- [ ] *My Neighbor Totoro* (Miyazaki, 1988)
- [ ] *Grave of the Fireflies* (Isao Takahata, 1988) – emotividad pura
- [ ] *The Little Mermaid* (1989) – inicio del renacimiento Disney
- [ ] *Stranger Than Paradise* (Jim Jarmusch, 1984)
- [ ] *Blood Simple* (Coen Brothers, 1984)
- [ ] *Blue Velvet* (David Lynch, 1986) – surrealismo suburbano y color
- [ ] *Down by Law* (Jim Jarmusch, 1986)
- [ ] *Raising Arizona* (Coen Brothers, 1987)
- [ ] *Wings of Desire* (Wim Wenders, 1987)
- [ ] *sex, lies, and videotape* (Steven Soderbergh, 1989)
- [ ] *Do the Right Thing* (Spike Lee, 1989)
- [ ] *Blade Runner* (1982) – Cyberpunk visual y lluvia neón
- [ ] *The Shining* (1980) – Simetría y terror psicológico
- [ ] *Raiders of the Lost Ark* (1981) – Aventura épica y composición
- [ ] *Scarface* (1983) – Exceso de color y poder
- [ ] *Amadeus* (1984) – Luz barroca y genio creativo
- [ ] *Ghostbusters* (1984) – Humor + efectos prácticos
- [ ] *Back to the Future* (1985) – Viaje en el tiempo y energía visual
- [ ] *The Goonies* (1985) – Aventura infantil y sets mágicos
- [ ] *Aliens* (1986) – Terror futurista y diseño de criaturas
- [ ] *Blue Velvet* (1986) – Suburbio siniestro y surrealismo
- [ ] *Ferris Bueller’s Day Off* (1986) – Narrativa rompedora y Chicago vibrante
- [ ] *Top Gun* (1986) – Luz y velocidad cinematográfica
- [ ] *RoboCop* (1987) – Sátira y violencia estilizada
- [ ] *The Princess Bride* (1987) – Fantasía y humor meta
- [ ] *Die Hard* (1988) – Acción en un solo espacio
- [ ] *Who Framed Roger Rabbit* (1988) – Fusión live-action/animación
- [ ] *Akira* (1988) – Animación explosiva y cyberpunk
- [ ] *Do the Right Thing* (1989) – Color y tensión racial
- [ ] *The Little Mermaid* (1989) – Renacimiento Disney y música visual
- [ ] *When Harry Met Sally* (1989) – Comedia romántica moderna

## Años 70

- [ ] *The Godfather* (Francis Ford Coppola, 1972)
- [ ] *Chinatown* (Roman Polanski, 1974) – iluminación neo-noir perfecta
- [ ] *Taxi Driver* (Martin Scorsese, 1976) – neones y aislamiento urbano brutal
- [ ] *Barry Lyndon* (Stanley Kubrick, 1975) – luz natural con velas, referencia pictórica
- [ ] *One Flew Over the Cuckoo’s Nest* (Miloš Forman, 1975)
- [ ] *Nashville* (Robert Altman, 1975) – narrativa coral
- [ ] *Apocalypse Now* (Francis Ford Coppola, 1979) – jungla psicodélica
- [ ] *The Deer Hunter* (Michael Cimino, 1978)
- [ ] *The Exorcist* (William Friedkin, 1973)
- [ ] *The Texas Chain Saw Massacre* (Tobe Hooper, 1974) – realismo sucio y claustrofobia
- [ ] *Jaws* (Steven Spielberg, 1975) – suspense invisible
- [ ] *Carrie* (Brian De Palma, 1976)
- [ ] *Suspiria* (Dario Argento, 1977) – paleta de colores y luces rojas para ilustradores
- [ ] *Halloween* (John Carpenter, 1978) – framing y tensión pura
- [ ] *Dawn of the Dead* (George A. Romero, 1978)
- [ ] *Alien* (Ridley Scott, 1979) – diseño de producción y atmósfera opresiva
- [ ] *A Clockwork Orange* (Stanley Kubrick, 1971) – estética futurista y color
- [ ] *Solaris* (Andrei Tarkovsky, 1972) – espacio, reflexión y luz mística
- [ ] *THX 1138* (George Lucas, 1971)
- [ ] *Star Wars* (George Lucas, 1977) – worldbuilding y mitología visual
- [ ] *Close Encounters of the Third Kind* (Steven Spielberg, 1977)
- [ ] *Superman* (Richard Donner, 1978)
- [ ] *Mad Max* (George Miller, 1979) – post-apocalipsis crudo
- [ ] *Stalker* (Andrei Tarkovsky, 1979) – atmósfera hipnótica
- [ ] *The French Connection* (William Friedkin, 1971) – persecuciones crudas
- [ ] *The Conversation* (Francis Ford Coppola, 1974) – vigilancia y sonido
- [ ] *The Parallax View* (Alan J. Pakula, 1974)
- [ ] *Three Days of the Condor* (Sydney Pollack, 1975)
- [ ] *All the President’s Men* (Alan J. Pakula, 1976)
- [ ] *Marathon Man* (John Schlesinger, 1976)
- [ ] *Sorcerer* (William Friedkin, 1977)
- [ ] *Klute* (Alan J. Pakula, 1971)
- [ ] *MASH* (Robert Altman, 1970)
- [ ] *Harold and Maude* (Hal Ashby, 1971)
- [ ] *Blazing Saddles* (Mel Brooks, 1974)
- [ ] *Young Frankenstein* (Mel Brooks, 1974)
- [ ] *Monty Python and the Holy Grail* (Terry Gilliam & Terry Jones, 1975)
- [ ] *Annie Hall* (Woody Allen, 1977)
- [ ] *Animal House* (John Landis, 1978)
- [ ] *The Jerk* (Carl Reiner, 1979)
- [ ] *Dirty Harry* (Don Siegel, 1971)
- [ ] *Enter the Dragon* (Robert Clouse, 1973) – coreografía legendaria
- [ ] *Assault on Precinct 13* (John Carpenter, 1976)
- [ ] *The Spy Who Loved Me* (Lewis Gilbert, 1977)
- [ ] *The Warriors* (Walter Hill, 1979)
- [ ] *Mad Max* (George Miller, 1979)
- [ ] *Rollerball* (Norman Jewison, 1975)
- [ ] *Live and Let Die* (Guy Hamilton, 1973)
- [ ] *The Godfather* (1972)
- [ ] *Mean Streets* (Martin Scorsese, 1973)
- [ ] *Serpico* (Sidney Lumet, 1973)
- [ ] *Dog Day Afternoon* (Sidney Lumet, 1975)
- [ ] *The Long Goodbye* (Robert Altman, 1973)
- [ ] *Badlands* (Terrence Malick, 1973)
- [ ] *Get Carter* (Mike Hodges, 1971)
- [ ] *The French Connection* (1971)
- [ ] *Little Big Man* (Arthur Penn, 1970)
- [ ] *McCabe & Mrs. Miller* (Robert Altman, 1971)
- [ ] *High Plains Drifter* (Clint Eastwood, 1973)
- [ ] *Pat Garrett & Billy the Kid* (Sam Peckinpah, 1973)
- [ ] *Bring Me the Head of Alfredo Garcia* (Sam Peckinpah, 1974)
- [ ] *The Outlaw Josey Wales* (Clint Eastwood, 1976)
- [ ] *Jeremiah Johnson* (Sydney Pollack, 1972)
- [ ] *Ulzana’s Raid* (Robert Aldrich, 1972)
- [ ] *Sweet Sweetback’s Baadasssss Song* (Melvin Van Peebles, 1971)
- [ ] *Shaft* (Gordon Parks, 1971)
- [ ] *Super Fly* (Gordon Parks Jr., 1972)
- [ ] *Coffy* (Jack Hill, 1973)
- [ ] *Foxy Brown* (Jack Hill, 1974)
- [ ] *Blacula* (William Crain, 1972)
- [ ] *Cleopatra Jones* (Jack Starrett, 1973)
- [ ] *Dolemite* (D’Urville Martin, 1975)
- [ ] *Fritz the Cat* (Ralph Bakshi, 1972) – animación adulta y cruda
- [ ] *Fantastic Planet* (René Laloux, 1973) – surrealismo y diseño
- [ ] *Heavy Traffic* (Ralph Bakshi, 1973)
- [ ] *Wizards* (Ralph Bakshi, 1977)
- [ ] *Allegro non troppo* (Bruno Bozzetto, 1976)
- [ ] *Watership Down* (Martin Rosen, 1978)
- [ ] *The Lord of the Rings* (Ralph Bakshi, 1978)
- [ ] *The Many Adventures of Winnie the Pooh* (Wolfgang Reitherman, 1977)
- [ ] *Jaws* (1975) – Nacimiento del blockbuster y suspense invisible
- [ ] *Star Wars* (1977) – Worldbuilding y efectos que crearon mitos
- [ ] *The Godfather* (1972) – Narrativa épica familiar
- [ ] *Taxi Driver* (1976) – Anti-héroe y neones urbanos
- [ ] *Apocalypse Now* (1979) – Jungla y locura visual
- [ ] *Alien* (1979) – Terror + sci-fi + diseño industrial
- [ ] *Halloween* (1978) – Plantilla del slasher
- [ ] *Chinatown* (1974) – Final amargo y composición perfecta
- [ ] *Barry Lyndon* (1975) – Maestría pictórica con luz natural
- [ ] *Suspiria* (1977) – Color y pesadilla para ilustradores
- [ ] *The Exorcist* (1973) – Efectos prácticos y terror psicológico
- [ ] *A Clockwork Orange* (1971) – Estética distópica y violencia estilizada
- [ ] *Close Encounters of the Third Kind* (1977) – Luz y contacto extraterrestre
- [ ] *Dawn of the Dead* (1978) – Crítica social con zombis
- [ ] *Nashville* (1975) – América en un microcosmos coral
- [ ] *Eraserhead* (David Lynch, 1977) – Surrealismo industrial y atmósfera
- [ ] *Stalker* (Tarkovsky, 1979) – Tiempo dilatado y mística visual
- [ ] *The Conversation* (1974) – Paranoia y vigilancia
- [ ] *Mad Max* (1979) – Post-apocalipsis crudo y velocidad
- [ ] *Annie Hall* (1977) – Narrativa romántica experimental

## Años 60

- [ ] *Dr. No* (Terence Young, 1962)
- [ ] *From Russia with Love* (Terence Young, 1963)
- [ ] *Goldfinger* (Guy Hamilton, 1964) – gadgets y coreografía de peleas
- [ ] *Thunderball* (Terence Young, 1965)
- [ ] *You Only Live Twice* (Lewis Gilbert, 1967)
- [ ] *Bullitt* (Peter Yates, 1968) – persecución de coches legendaria
- [ ] *The Italian Job* (Peter Collinson, 1969)
- [ ] *On Her Majesty’s Secret Service* (Peter R. Hunt, 1969)
- [ ] *101 Dalmatians* (Clyde Geronimi et al., 1961)
- [ ] *The Sword in the Stone* (Wolfgang Reitherman, 1963)
- [ ] *Mary Poppins* (Robert Stevenson, 1964) – mezcla live-action/animación
- [ ] *The Jungle Book* (Wolfgang Reitherman, 1967)
- [ ] *Yellow Submarine* (George Dunning, 1968) – pop art psicodélico
- [ ] *A Boy Named Charlie Brown* (Bill Melendez, 1969)
- [ ] *The Phantom Tollbooth* (Chuck Jones, 1970 – límite 60s)
- [ ] *Winnie the Pooh and the Honey Tree* (Wolfgang Reitherman, 1966)
- [ ] *The Apartment* (Billy Wilder, 1960)
- [ ] *Breakfast at Tiffany’s* (Blake Edwards, 1961)
- [ ] *The Pink Panther* (Blake Edwards, 1963)
- [ ] *Dr. Strangelove* (Stanley Kubrick, 1964)
- [ ] *A Funny Thing Happened on the Way to the Forum* (Richard Lester, 1966)
- [ ] *The Producers* (Mel Brooks, 1967)
- [ ] *The President’s Analyst* (Theodore J. Flicker, 1967)
- [ ] *Bob & Carol & Ted & Alice* (Paul Mazursky, 1969)
- [ ] *La Dolce Vita* (Federico Fellini, 1960)
- [ ] *Harakiri* (Masaki Kobayashi, 1962)
- [ ] *The Leopard* (Luchino Visconti, 1963)
- [ ] *8½* (Federico Fellini, 1963) – meta-cine sobre bloqueo creativo
- [ ] *Persona* (Ingmar Bergman, 1966) – fusión de rostros
- [ ] *The Graduate* (Mike Nichols, 1967)
- [ ] *In the Heat of the Night* (Norman Jewison, 1967)
- [ ] *Midnight Cowboy* (John Schlesinger, 1969)
- [ ] *Spartacus* (Stanley Kubrick, 1960)
- [ ] *Lawrence of Arabia* (David Lean, 1962) – luz del desierto brutal
- [ ] *Cleopatra* (Joseph L. Mankiewicz, 1963)
- [ ] *Doctor Zhivago* (David Lean, 1965)
- [ ] *The Fall of the Roman Empire* (Anthony Mann, 1964)
- [ ] *El Cid* (Anthony Mann, 1961)
- [ ] *How the West Was Won* (John Ford et al., 1962)
- [ ] *The Bible: In the Beginning…* (John Huston, 1966)
- [ ] *The Time Machine* (George Pal, 1960)
- [ ] *Jason and the Argonauts* (Don Chaffey, 1963) – stop-motion Harryhausen
- [ ] *Mary Poppins* (Robert Stevenson, 1964)
- [ ] *One Million Years B.C.* (Don Chaffey, 1966)
- [ ] *Barbarella* (Roger Vadim, 1968) – diseño pop futurista
- [ ] *The 7 Faces of Dr. Lao* (George Pal, 1964)
- [ ] *Chitty Chitty Bang Bang* (Ken Hughes, 1968)
- [ ] *Willy Wonka & the Chocolate Factory* (Mel Stuart, 1971 – límite, o usa *Bedknobs and Broomsticks* 1971)
- [ ] *Psycho* (Alfred Hitchcock, 1960)
- [ ] *Peeping Tom* (Michael Powell, 1960)
- [ ] *The Birds* (Alfred Hitchcock, 1963)
- [ ] *What Ever Happened to Baby Jane?* (Robert Aldrich, 1962)
- [ ] *Rosemary’s Baby* (Roman Polanski, 1968)
- [ ] *Night of the Living Dead* (George A. Romero, 1968) – zombie moderno
- [ ] *The Haunting* (Robert Wise, 1963)
- [ ] *Hour of the Wolf* (Ingmar Bergman, 1968)
- [ ] *Village of the Damned* (Wolf Rilla, 1960)
- [ ] *Alphaville* (Jean-Luc Godard, 1965)
- [ ] *Fahrenheit 451* (François Truffaut, 1966)
- [ ] *Planet of the Apes* (Franklin J. Schaffner, 1968)
- [ ] *2001: A Space Odyssey* (Stanley Kubrick, 1968) – composición perfecta
- [ ] *Barbarella* (Roger Vadim, 1968)
- [ ] *THX 1138* (George Lucas, 1971 – precursor 60s)
- [ ] *Psycho* (Hitchcock, 1960)
- [ ] *Blow-Up* (Michelangelo Antonioni, 1966) – fotografía y realidad
- [ ] *The Manchurian Candidate* (John Frankenheimer, 1962)
- [ ] *Marnie* (Alfred Hitchcock, 1964)
- [ ] *Repulsion* (Roman Polanski, 1965)
- [ ] *The Thomas Crown Affair* (Norman Jewison, 1968)
- [ ] *Wait Until Dark* (Terence Young, 1967)
- [ ] *Topaz* (Alfred Hitchcock, 1969)
- [ ] *The Magnificent Seven* (John Sturges, 1960)
- [ ] *Yojimbo* (Akira Kurosawa, 1961)
- [ ] *For a Few Dollars More* (Sergio Leone, 1965)
- [ ] *The Good, the Bad and the Ugly* (Sergio Leone, 1966) – encuadres épicos
- [ ] *Once Upon a Time in the West* (Sergio Leone, 1968)
- [ ] *The Wild Bunch* (Sam Peckinpah, 1969) – violencia lenta
- [ ] *True Grit* (Henry Hathaway, 1969)
- [ ] *Butch Cassidy and the Sundance Kid* (George Roy Hill, 1969)
- [ ] *Psycho* (Hitchcock, 1960) – Horror/Thriller → shower scene y montaje
- [ ] *Breathless* (Godard, 1960) – Nouvelle Vague → jump cuts y cine libre
- [ ] *Lawrence of Arabia* (Lean, 1962) – Épico → luz y desierto
- [ ] *8½* (Fellini, 1963) – Drama meta → sueño y bloqueo creativo
- [ ] *Dr. Strangelove* (Kubrick, 1964) – Comedia negra → sátira nuclear
- [ ] *Harakiri* (Kobayashi, 1962) – Drama samurái → composición zen
- [ ] *Blow-Up* (Antonioni, 1966) – Thriller → fotografía y realidad
- [ ] *Persona* (Bergman, 1966) – Drama psicológico → fusión de caras
- [ ] *Bonnie and Clyde* (Penn, 1967) – Crimen → violencia lenta y New Hollywood
- [ ] *The Graduate* (Nichols, 1967) – Drama juvenil → simbolismo plástico
- [ ] *2001: A Space Odyssey* (Kubrick, 1968) – Sci-fi → evolución humana y efectos
- [ ] *Night of the Living Dead* (Romero, 1968) – Horror → zombie social
- [ ] *Rosemary’s Baby* (Polanski, 1968) – Horror psicológico → paranoia urbana
- [ ] *Planet of the Apes* (Schaffner, 1968) – Sci-fi → twist final icónico
- [ ] *Once Upon a Time in the West* (Leone, 1968) – Western → silencio y close-ups
- [ ] *Easy Rider* (Hopper, 1969) – Road movie → contracultura y libertad
- [ ] *The Wild Bunch* (Peckinpah, 1969) – Western → balística lenta
- [ ] *Midnight Cowboy* (Schlesinger, 1969) – Drama → X-rating y crudeza
- [ ] *The Good, the Bad and the Ugly* (Leone, 1966) – Western → Morricone y épica
- [ ] *If….* (Lindsay Anderson, 1968) – Drama rebelde → fantasía y violencia escolar
- [ ] Sonnet 18 (“Shall I compare thee to a summer’s day?”) – William Shakespeare (1609)
- [ ] Sonnet 116 (“Let me not to the marriage of true minds”) – William Shakespeare
- [ ] Sonnet 130 (“My mistress’ eyes are nothing like the sun”) – William Shakespeare
- [ ] Astrophil and Stella, Sonnet 1 (“Loving in truth…”) – Sir Philip Sidney (1591)
- [ ] Astrophil and Stella, Sonnet 31 (“With how sad steps, O Moon…”) – Sir Philip Sidney
- [ ] Amoretti, Sonnet 75 (“One day I wrote her name upon the strand”) – Edmund Spenser (1595)
- [ ] Amoretti, Sonnet 1 (“Happy ye leaves…”) – Edmund Spenser
- [ ] Sonnet 29 (“When, in disgrace with fortune and men’s eyes”) – William Shakespeare
- [ ] Sonnet 73 (“That time of year thou mayst in me behold”) – William Shakespeare
- [ ] Sonnet 138 (“When my love swears that she is made of truth”) – William Shakespeare
- [ ] Astrophel and Stella, Sonnet 71 (“Who will in fairest book of Nature know”) – Sir Philip Sidney
- [ ] Amoretti, Sonnet 34 (“Like as a ship…”) – Edmund Spenser
- [ ] Sonnet 2 (“When forty winters shall besiege thy brow”) – William Shakespeare
- [ ] Sonnet 127 (“In the old age black was not counted fair”) – William Shakespeare
- [ ] Delia, Sonnet 2 (“My sin was too much love…”) – Samuel Daniel (1592)
- [ ] Sonnet 64 (“When I have seen by Time’s fell hand defaced”) – William Shakespeare
- [ ] Idea, Sonnet 61 (“Since there’s no help…”) – Michael Drayton (1619)
- [ ] Sonnet 106 (“When in the chronicle of wasted time”) – William Shakespeare
- [ ] Astrophil and Stella, Sonnet 108 (“When sorrow…”) – Sir Philip Sidney
- [ ] Amoretti, Sonnet 79 (“Men call you fair…”) – Edmund Spenser
- [ ] The Passionate Shepherd to His Love – Christopher Marlowe (1599)
- [ ] The Nymph’s Reply to the Shepherd – Sir Walter Raleigh (1600)
- [ ] The Shepherd’s Calendar (January Eclogue) – Edmund Spenser (1579)
- [ ] As You Like It (extracto “Blow, blow, thou winter wind”) – William Shakespeare (1599)
- [ ] The Shepherd’s Week (Monday) – John Gay (pero influencia isabelina, 1714 – precursor) – mejor: Come live with me… variaciones
- [ ] The Shepherd’s Calendar (April Eclogue) – Edmund Spenser
- [ ] A Pastoral (Coridon and Phyllis) – Nicholas Breton (1590s)
- [ ] The Pastoral of the Shepherds – Sir Philip Sidney (Arcadia, 1590)
- [ ] The Shepherd’s Delight – Thomas Lodge (1590)
- [ ] Rosalind’s Madrigal – Thomas Lodge (1590)
- [ ] The Shepherd’s Calendar (June Eclogue) – Edmund Spenser
- [ ] A Shepherd’s Love – Robert Greene (1590)
- [ ] The Passionate Pilgrim (extracto) – William Shakespeare (1599)
- [ ] Hobbinol’s Dittie – Edmund Spenser (Shepherd’s Calendar)
- [ ] The Shepherd’s Garland – Michael Drayton (1593)
- [ ] Come, live with me… (versión de Donne) – John Donne (influencia, ~1600)
- [ ] The Nymph’s Reply (variación) – Sir Walter Raleigh
- [ ] Eclogue (Arcadia) – Sir Philip Sidney
- [ ] The Shepherd’s Calendar (October Eclogue) – Edmund Spenser
- [ ] Corin’s Song – Robert Greene (1590)
- [ ] The Faerie Queene, Canto I (extracto: Redcrosse Knight) – Edmund Spenser (1590)
- [ ] The Faerie Queene, Canto III (Britomart) – Edmund Spenser
- [ ] The Faerie Queene, Proem (Libro I) – Edmund Spenser
- [ ] The Faerie Queene, Canto IX (Despair) – Edmund Spenser
- [ ] The Shepheardes Calender (November Eclogue) – Edmund Spenser (1579)
- [ ] Poly-Olbion (extracto Song I) – Michael Drayton (1612)
- [ ] The Faerie Queene, Canto X (House of Holiness) – Edmund Spenser
- [ ] The Ruines of Time – Edmund Spenser (1591)
- [ ] The Faerie Queene, Canto II (Guyon) – Edmund Spenser
- [ ] Colin Clouts Come Home Againe – Edmund Spenser (1595)
- [ ] The Faerie Queene, Canto V (Britomart’s fight) – Edmund Spenser
- [ ] The Tears of the Muses – Edmund Spenser (1591)
- [ ] Poly-Olbion (Song XV) – Michael Drayton
- [ ] The Faerie Queene, Canto XI (Dragon fight) – Edmund Spenser
- [ ] Amoretti (extracto épico-alegórico) – Edmund Spenser
- [ ] The Faerie Queene, Canto XII (Una rescued) – Edmund Spenser
- [ ] Daphnaïda – Edmund Spenser (1591)
- [ ] The Faerie Queene, Proem (Libro II) – Edmund Spenser
- [ ] The Shepheardes Calender (December Eclogue) – Edmund Spenser
- [ ] Poly-Olbion (Song XX) – Michael Drayton
- [ ] The Flea – John Donne (~1633)
- [ ] A Valediction: Forbidding Mourning – John Donne
- [ ] The Sun Rising – John Donne
- [ ] Holy Sonnet 10 (“Death, be not proud”) – John Donne
- [ ] To His Coy Mistress – Andrew Marvell (~1650)
- [ ] Easter Wings – George Herbert (1633)
- [ ] The Collar – George Herbert
- [ ] Batter My Heart (Holy Sonnet 14) – John Donne
- [ ] The Good-Morrow – John Donne
- [ ] Love (III) – George Herbert
- [ ] A Dialogue between the Soul and Body – Andrew Marvell
- [ ] Meditation XVII (“No man is an island”) – John Donne (prosa-poética)
- [ ] The Pulley – George Herbert
- [ ] The Definition of Love – Andrew Marvell
- [ ] Holy Sonnet 1 (“Thou hast made me…”) – John Donne
- [ ] The Temple (extracto: Jordan) – George Herbert
- [ ] The Bait – John Donne
- [ ] On a Drop of Dew – Andrew Marvell
- [ ] Virtue – George Herbert
- [ ] The Ecstasy – John Donne
- [ ] To the Virgins, to Make Much of Time (“Gather ye rosebuds…”) – Robert Herrick (1648)
- [ ] To Lucasta, Going to the Wars – Richard Lovelace (1649)
- [ ] The Constant Lover – Sir John Suckling (1630s)
- [ ] Why So Pale and Wan? – Sir John Suckling
- [ ] Corinna’s Going a-Maying – Robert Herrick
- [ ] To Althea, from Prison – Richard Lovelace
- [ ] Delight in Disorder – Robert Herrick
- [ ] Song (“Why so pale and wan, fond lover?”) – Sir John Suckling
- [ ] The Grasshopper – Richard Lovelace
- [ ] Upon Julia’s Clothes – Robert Herrick
- [ ] To Celia (“Drink to me only with thine eyes”) – Ben Jonson (1616)
- [ ] The Vine – Robert Herrick
- [ ] To Anthea, who may Command him Anything – Robert Herrick
- [ ] Going to the Wars (variación) – Richard Lovelace
- [ ] The Scrutiny – Sir John Suckling
- [ ] Cherry-ripe – Robert Herrick
- [ ] The Bag – Richard Lovelace
- [ ] Upon His Departure Hence – Robert Herrick
- [ ] A Child’s Grace – Ben Jonson
- [ ] The Cavalier’s Muster – Thomas Carew (1630s)