An aside, or: canon formation


For the sake of posterity, my list for the Sight & Sound poll (republished without errors):   

À nos amours (Maurice Pialat, 1983)
Dalla nube alla resistenza (Jean-Marie Straub and Danièle Huillet, 1979)
Hours for Jerome I & II (Nathaniel Dorsky, 1980-82)
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
Kodomo no shiki (Hiroshi Shimizu, 1939)
La région centrale (Michael Snow, 1971)
Sátántangó (Béla Tarr, 1994)
Tie Xi Qu: West of the Tracks (Wang Bing, 2003)
Toni (Jean Renoir, 1935)
La vallée close (Jean-Claude Rousseau, 1995)

It never occurred to me to worry about what the greatest films ever might be, so I picked a few that I like. As others have pointed out about the overall poll, it's nice to see Jeanne Dielman and Sátántangó entering the canon next to film studies fixtures such as Metropolis and Psycho, but the measure by which Vertigo is to be considered a more important film than, say, Hours for Jerome is still somewhat unfathomable to me. The filmmakers' lists have now been posted too (featuring some LS favourites: Keiller, Apichatpong, Raya M, Allan Sekula, and so on), as has this very good piece on Ozu by Thom Andersen.