1. Films about the world of cinema.

In Federico Fellini`s “8½” (1963), Spike Joneze`s “Adaptation” (2002), Charlie Kaufman`s “Synecdoche, New York” (2008), Jean-Luc Godard`s “Le mépris” (1963, “Contempt” in english), Joel Coen and Ethan Coen`s “Barton Fink” (1991), Billy Wilder`s “Sunset Blvd.” (1950), Robert Altman`s “The Player” (1992), Nicolas Winding Refn`s “Drive” (2011), David Lynch`s “Mulholland Drive” (2001), Tom DiCillo`s “Living in Oblivion” (1995), Woody Allen`s “Crimes and Misdemeanors” (1989), “Hollywood Ending” (2002) and “Annie Hall” (1977), Richard Attenborough`s “Chaplin” (1992), Frank Darabont`s “Majestic” (2001), Martin McDonagh`s “Seven Psychopaths” (2012), Atom Egoyan`s “Ararat” (2002), Giuseppe Tornatore`s “L’uomo delle stelle” (1995, “The Star Maker” in english) and “Nuovo Cinema Paradiso” (1988, “Cinema Paradiso” in english) and David Mamet`s “State and Main” (2000), the film is film on filmmaking: Director and screenwriter, movie driver and producer – they all partners to the process of making a film. For me, The best tormented artist character is Philip Seymour Hoffman’s character in “Synecdoche, New York” and Nicolas Cage`s character in “Adaptation”.

Tormented artist. Michel Piccoli as Paul Javal in “Le mépris”.

2. Parodies about the conventional system.
In Mel Brooks`s “Blazing Saddles” (1974), Tom McGrath’s “MegaMind” (2010), Edgar Wright`s “Hot Fuzz” (2007), Jim Abrahams, David Zucker and Jerry Zucker`s “Airplane!” (1980), Martin McDonagh`s “Seven Psychopaths” (2012), Quentin Tarantino`s “Reservoir Dogs” (1992) and “Pulp Fiction” (1994) and Wes Craven`s “Scream” (1996), the film laugh about the “rules” and the conventional system. For example: In “Reservoir Dogs”, The inferior character is a cop. In All of the Hollywood movies, the cop always win.

Scary flight. “Airplane!”.

3. Storyteller Reference to the artificiality of the story. The narrator shares with viewers his thoughts.

In David Fincher`s “Fight Club” (1999), Joel Coen and Ethan Coen`s “The Man Who Wasn`t There” (2001), Martin Scorsese`s “Taxi Driver” (1976), “Casino” (1995) and “GoodfellAs” (1990), “Stanley Kubrick`s “A Clockwork Orange” (1971), George Cloony`s “Confessions of A Dangerous Mind” (2002) and Jason Reitman`s “Thank You for Smoking” (2005) we are actually partners to the character’s thoughts.

Malcolm McDowell in “A Clockwork Orange”.

4. Actors: reference to other role the actor played, which makes us understand that we are watching in a fake system.

In Quentin Tarantino`s “Pulp Fiction” (1994) and Guy Ritchie`s “Snatch” (2000), there is a reference to other role of Brad Pitt and John Travolta: In “Pulp Fiction”, John Travolta dancing with Uma Thurman and that what remind us “Grease” and “Saturday Night Fever.”

In “Snatch”, Brad Pitt is a pugilist, and that what remind us Brad Pitt`s character in David Fincher`s “Fight Club”, Tyler Durden.

5. Reference to cinematic apparatus

Soundtrack (sometimes directors use sound to attract the viewer attention to the existence of sound or its manipulation) and the location of the camera (sometimes, the target of the perspective and the distance of the camera are to make viewers understand that the system is fake, usually scenes in which the hero trapped.).

In Woody Allen`s “Bananas” (1971), Allen opens the closet and see man playing the soundtrack of the scene.

In Mike Nichols`s “The Graduate” (1967), Dustin Hoffman “trapped” betweenMrs. Robinson`s legs in the shot, which meant that he is in danger.

In Bernardo Bertolucci`s “Il Conformista” (1970, “The Conformist” in english) the main character, Marcello Clerici, can`t manage “Normal Life” and this is reflected in the un-normal perspective of the camera. In one of the scenes in Joel Coen and Ethan Coen`s “The Man Who Wasn`t There” (2001), Birdy playing on the piano the music of the scene.

Dustin Hoffman in “The Graduate”. The hero “trapped” between her legs, which meant that he is in danger.