I’m not a big fan of lists of top films, songs, books, etc — at least as far as they attempt to be the last word on “greatness.” Having said that, when a list is revealed — whether it be by the New York Times or a random blogger — I can’t help but peek.

My curiosity does not stem, though, from a need to order my universe or to feel good about the cultural choices I’ve made. For me, the lists grab my attention because they always reveal much more about the list-makers — and their social context — than the genres they are attempting to classify.

And no one seems more exposed this past week than the American Film Institute (AFI), who just issued the 10th anniversary edition of their “Top 100 Movies of All Time” (which was unveiled in primetime on CBS)

As Melissa Silverstein of The Huffington Post pointed out almost immediately, not a single female-directed film made the list. What’s equally disturbing:

The films themselves are boy-centric, and the only ones that are women driven (after The Wizard of Oz) include: Sunset Blvd; All About Eve; Snow White and the Seven Dwarfs (give me a break); The Sound of Music; and Sophie’s Choice.

Inspired by this dramatic exclusion, the Alliance of Women Film Journalists (AWFJ) just issued their own “Top 100” list — voted on by its members. Amazingly, it shares only 22 films with the AFI list

Even though female directors or a female focus were not requirements, AWFJ’s list devastatingly demonstrates that the AFI’s dismissal of women in film is part of the institutional sexism — the “old boys club” mentality — of the film establishment.

How can you look at the diversity and quality of the films on AWFJ’s list and see any other explanation?