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Select a few of Shakespeare plays that have been adapted in films and analyse them. What can film techniques bring to the plays? How does it change our relationships to characters? The story? Are there elements that can only be efficient on stage? What do actors who do both (David Tennant, Kenneth Branagh, Ian McKellen etc…) say about the difference between performing Shakespeare on stage and in front of a camera?

The ‘James Bond Girl’, as we like to refer to the main female characters in the Bond series, has had many faces and many different nationalities, from Sophie Marceau to Lea Seydoux (yes, a lot of French girls! Does that say anything about our conceptions of French women and the images we associate with them?). It would be interesting to have a look at the different performances/interpretations in the Bond filmography. What ideals of femininity do they relay? How do nationality and foreignness affect their performances? What does that bring? What are our expectations of the James Bond girl? How do they compare with books?

Quebec’s film industry is commonly regarded as a distinct entity from its English Canadian counterpart. Write a study and history of French Canadian Cinema, looking at filmmakers like Xavier Dolan, Atom Egoyan, Denis Villeneuve…. What makes it paricular? How can it be exported? Is there a Hollywood/Canadian influence?

Twickenham Studios in the UK might not be well known, yet they have worked for the past century on enormous films. They have produced the Beatles films in the 1960s, The Italian Job with Michael Caine, My Week with Marilyn, The Iron Lady, War Horse, Kick-Ass among others. They are also particularly famous for their post-production work, receiving Emmys, BaFTAS and Oscar nominations for their sound editing of The Martian or Amy for example. Celebrating their 100th anniversary, it would be interesting for someone to look into their history and create a retrospective of their most famous work.

The new season of Black Mirror is in production. Netflix has now bought the rights and is changing the structure of the series, expanding to 12 episodes for this new season. They will no longer feature on TV but exclusively on Netflix and online. What can we expect from the new season? Will these changes impact the quality of the narrative? Will the themes be explored in a similar way and as thoroughly? Do you think they would benefit from linking episodes together since they now have more (although this might not be their ambition)?

The TV Channel BBC 3 has just turned into an online channel, abandoning its television platform to embrace the digital entirely. It has always targeted young people yet had low audiences and did not make much profit. The decision to turn completely digital and online seems to be BBC’s way to keep its ‘young’ audience, who spends more time online than in front of the TV. What is there to gain? What is there to loose? How far until a TV channel is pushed to completely reinvent itself? Is the future of TV online?

The work of Concept Artists is one of passion, hard-work, determination and patience. They come up with incredible designs that really help the production and give a visual stimuli to directors, producers, set designers, production managers and art directors. They manage to translate the director’s and screenwriter’s vision into beautiful images that are then used as a basis to convey the film’s atmosphere and tone. They also help the technicians (lighting, camera work) and touch upon all aspects of production. It would be interesting if someone decided to shed a bit more light on these works. What is a concept artist? What do they achieve? How do they impact? Also, would be really interesting to find the concept art for big films to illustrate the point, like Harry Potter, Lord of The Rings or Marvel Universe films etc…

This is a hard topic to write about so the article will probably have to be personal yet rely on statistics, investigations and numbers as well. The conditions of how we watch a film are extremely important as they influence our reception, understanding and appreciation of the film. Watching a classic like The Usual Suspects on a small screen is never as satisfying as watching it on a big screen. Yet classics are very rarely projected again on big screens. In Paris, a cinema has just opened, specializing in projecting Hollywood and French classics on a big screen once again for the public. How much are screen size and ratio important in our experience of the film? How can you read a film through the cinema experience and through the home experience? How aware are the distributors on this subject and how does it influence their decision? In contrast, can we appreciate a film more at home, in the comfort of our personal space? How does our experience change if we watch it on TV? On a laptop?