Why has "the brick" seen continued revival and adaptations? Examine the ways that history made the novel so anticipated and "famous", but also the themes that might connect with the renditions. For example, was there a political reason to have the most recent 2012 movie adaptation? Or is there a political reason that there was/is a lasting "fandom" around the original text? I feel like there are few classics that have a cult following. Perhaps there could also be a comparison between Les Misérables adaptations and Sherlock Holmes adaptations.
There are some TV series that are very well known and popular. Of these, many attract rabid fandoms that follow the every move of the characters, analyze decisions, follow the actors, etc. Some of these followings are more substantial than others, and some can get crazy or rowdy. Supernatural, Doctor Who, and Sherlock (BBC) are some of the current fandoms that fit both categories. But why are these so popular? Why did they attract these fandoms? What kinds of other shows attract similarly crazy fandoms?
Korean dramas are gaining popularity. – sierrabam1 day ago
With Ms. Marvel and Batgirl of Burnside as just two examples, how are Marvel and D.C. writing young women as heroes? What sort of plot devices do they use to make them relatable? In what areas do they succeed or fail? Furthermore, analyze whether or not these characters have been successful in reaching a wider demographic for the comic industry.
In the mid-twentieth story auteur theory was developed, naming the director as the main author of a film work. In this theory, directors get named auteurs primarily through the development of an individual aesthetic. Does the Marvel Cinematic Universe and the Marvel house style, achieve a similar individual aesthetic? Can Kevin Feige be considered the auteur of the franchise for his production decisions like naming directors and deciding which projects get produced? This can be supportive or critical of the Feige and the MCU.
It seems as though every week has a new superhero film debuting, and even though the different universes play host to a litany of different hero and villains, are filmmakers going to have to stretch in order to create new and compelling films? Are these franchise films going to dry the well for future hero/villain films? When are we going to become bored with the genre? The box-office is flooded with with comic adaptations and there are a plethora of new comic-related films in the works. Is there every going to be a lull in these made-for-film adaptations? This goes even further than film and is now plaguing television, with shows like Gotham, Arrow and The Flash.
I like this a lot, I feel as though since the universes are so expanded they can do so many things with the different characters that they have. You can even add if they work, what more can they do with these universes? What more can we expand on to the point where it's eventually just going to be a huge black hole full of different universes of superheroes. – scoleman2 days ago
This is an interesting topic. Personally I haven't gotten excited about any recent superhero movies (Ant Man? come on.) so this is absolutely relevant. – SomeOtherAmazon2 days ago
This topic is interesting to consider when you think of the vampire/wear wolf/zombie craze that seemed to have just ended. Could a parallel be made between these two trends? Think about the cycles of movies that have occurred in the last 10 years (the overwhelming abundance of Disney/Pixar sequels following in the same vein). I believe that there could be more discussed beyond the superhero movie craze. A good way to focus would be to take past ones in conjunction with this current hold over the box office/television/streaming(think daredevil) service overload. Why are we constantly being saturated in the latest craze? What does it say about our society? – UnapologeticallyGeneva1 day ago
What I mean by controversial is unusual, original, thought-provoking…How do these books break with the tradition of children’s literature, or play with it in some way? How do they refer to modernity and explain contemporary problems? A Monster Calls, a children’s book about cancer, or This Is Not My Hat’ are particularly good examples.
I think this would be a very interesting article! Maybe you could talk about how society as a whole feels about these books. Do they find the modernity suitable for children or is it considered too mature for them? – sarajean22114 hours ago
Comic fans love their heroes, and their tested and true stories that have been rewritten and reimagined for well over half a century. Recently, however, there’s been talk of creating new heroes, new teams, and new identities that better represent our modern ideologies and culture. What really makes a new hero worth publishing? What sort of criteria should be followed to give a character the longevity of the greats? What aspects of our society can we fuse into new heroes to further the ongoing mythology of the superhuman? Analyze whether it is about diversity, history, relatability, or something else entirely.
I like this topic and think it would make a great subject to analyze. I think as our society has evolved new heroes, teams, identities, etc. have been created that are emblematic of modern ideologies and cultural trends. The question of what makes a hero "modern" and what characteristics define this new type of character would make a great topic for exploration and discussion. – Morgan R. Muller12 hours ago
Shonda Rhimes, the creator of "Grey’s Anatomy," "Scandal," and, most recently, "How to Get Away with Murder," makes a point of including characters of diverse races, ethnicities, and sexual orientations, and is well-known for her portrayal of strong women. However, her portrayals are not without controversy. She is often accused of portraying women and minorities in powerful positions without addressing the trials and tribulations it took for them to get there. Does this do an injustice to her characters as a form of white-washing history, or is it progressive that she portrays minority characters without making their race, sexual orientation, etc. their defining character trait?
This topic is especially timely for two reasons. First of all, Patrick Dempsey, the male lead of Grey’s Anatomy, recently left the show; it will now focus on Meredith Grey and her experiences as a single mother of two and successful surgeon. Audiences will likely be interested to see how Rhimes handles the topic of single motherhood. Second of all, Viola Davis recently received an Emmy for her portrayal of Dr. Keating in "How to Get Away With Murder," making her the first African American woman to receive an Emmy for Best Actress in a Drama.
You make excellent points and it is a great topic due to the popularity of Shonda's shows. On one hand, I want to say yes, it is white-washing history; yet why should there be explanations as to why people of color are successful? We never have that expectation when viewing successful white people on television. You raise interesting, relevant issues pertinent to society and I think this will make for a polarizing topic--the best kind. Even the fact that Viola Davis was the first African American woman to win an Emmy for Best Actress in a Drama is pathetic in a society that prides it's "diversity." The way in which Shonda handles minority characters is in a respectful, real, contemporary manner. Her shows revolve around characters, not their social identities, something I hope to see more of on television, and film. – danielle5772 days ago
I think that a lot of people have opinions about this subject, which is a good reason, but not the only reason to write about it. Discussions of how gender ideologies, race, and other aspects of our culture are portrayed in the media (specifically in television) are important for furthering our development as a society. – Morgan R. Muller12 hours ago
Among all the sports anime produced by Japan, Prince of Tennis can perhaps be among those on top of it’s league when it comes to fanbase and story development.
Apart from the awesome tennis techniques it has introduced, characterization is also highly notable. Personalities are unique, making it easier for viewers to relate with any of the ones presented.
But with all the interesting teams and schools we’ve encountered so far, have you ever thought about what your dream team will look like in case you’re given the chance to pick any of the characters and include them in your own team?
Selection will be difficult if you only base it on the skills of the individuals, which is where you preference comes in. Is skill your primary criteria for the selection or will the looks also matter. How about leadership and attitude?
Put yourselves in the shoe of any coach and see who can bring your team on top. Will a group of power players be efficient or will those all-rounders land you a secure spot for the championships. Remember, you are the coach. Your players are your choice.
So get yourself ready. Trim down your options to the potential ones and get them on board! Here’s a potential team that might just be one of the best out there.
In this second part of a series on anime as an art form, the other side of the coin is examined. Whereas the first part focused on criticisms by Western viewers of anime that were either invalid or unsound, the second part focuses on the criticisms of anime tropes. While tropes themselves are not inherently bad, they can often lead to lazy writing or storyboarding; if anime is to be considered a true art form, it must transcend past entertainment tropes to become artworks.
Many anime tropes are products of an entertainment industry interested in churning out content for the bottom barrel. Tropes such as bland and overpowered protagonists or wish fulfillment are aimed at younger audiences, while tropes such as bad pacing or empty monologues exist due to the stipulations by production and television companies. Care is given not to examine tropes that are cultural in nature (such as Japanese characterization), but facial expressions and their lack of subtlety does hinder the ability for art to resist rationalization, and therefore is included. While the list is not comprehensive, it does help point new viewers in a direction as to what makes good anime and what makes bad anime, and therefore how to discern what shows to watch if they wish to watch anime that are artworks rather than art objects.
Fate Stay Night: Unlimited Blade Works is the fifth anime adaptation of the Fate series and third adaptation from the Fate Stay Night visual novel. It’s the sequel to the Fate/Stay Night prequel Fate/Zero and, with Heaven’s Feel in the wing, the second in a soon to be three-part Ufotable Fate Stay Night collection.
Its plot follows the Unlimited Blade Works story-line of the Fate Stay Night visual novel, branching off halfway through the story of Emiya Shirou’s Holy Grail war (a battle royal between ancient magical heroes) to focus more on the heroine Rin Tosaka and her Servant, Archer. Archer has ulterior motives for participating in the Holy Grail war that involves Shirou in more ways than one. Together with his Servant Saber, Shirou and Rin must find a way of stopping not only the other masters and servants, but stopping the complete destruction of their home city.
So far this anime possesses not just the highest quality of animation and best sound track for a Fate series but it also contain’s much more character development, better pacing and a twist that completely changes the way you will look at the series. A must watch for any fans of Fate, my only caveat is that you watch Fate/Zero before it as its context bring into perspective the cause of the main characters’ deep seeded ideologies.