‘The Power of the Dog’, directed by Jane Campion, has received numerous nominations and accolades, and is another example of a recent film in the Western genre made by a female director. Chloe Zhao’s ‘The Rider’ and Kelly Reichardt’s ‘Meek’s Cutoff’ are other recent examples. Jordan Kisner’s article ‘The Western Rides Again’ delves into some of these recent adaptations. I’m interested in the staying power of the genre and figuring what, if anything, the genre has left to give us in new iterations.
Really thoughtful question here. I wonder if these directors might push this genre to explore various avenues not gone down before. – alince2 years ago
Also interesting to note is that neither of the two female directors you mentioned are from the United States. The Old West has so many myths and symbols attached to it, including the machismo aspect, that maybe the genre needs more views through a non-American (and less biased) lens with that additional female/outsider perspective. – jwintersallen2 years ago
Star Wars is arguably one of the most influential sagas ever created-it’s tales have touched countless lives over the past several decades. Explore what makes these stories so powerful, why they have stood the test of time and how have they grown to live through so many generations of fans. Is it the characters? The plots? Something else completely? What adaptations has Star Wars embodied to remain a timeless tale that so many have connected with?
Hello! I'm sorry for the extra note, though I just wanted to say that I have revised this topic, but my edits didn't save when I went to update it. This is the altered topic that I came up with as a result of the given notes. Thank you for your feedback! "Star Wars is arguably one of the most influential sagas ever created-it's tales have touched countless lives over the past several decades. My Dad grew up following the story of Luke Skywalker, and 30+ years later “Star Wars the Clone Wars” became a cornerstone of my brother’s childhood. Explore what makes these stories so powerful, but also how they have been able to grow to stand the test of time. Is it the characters? The plots? Something else completely? What differentiates and connects Luke and Rey as protagonists, how was “Star Wars the Force Awakens” able to successfully recycle the villain of the Death Star into the Starkiller Base? What adaptations has Star Wars embodied to remain a timeless tale-and in what ways have they evolved so that their stories exist in harmony without becoming over-repetitive or trite?" – mmclaughlin1022 years ago
I’m no star wars fan (only watched a few, tho none of them have been compelling enough for me to be become a fan who watches every thing in its entirety )
But I will say that perhaps it’s the fact that it created or popularized the hero’s journey. A writer’s structure that has made the films writing engaging? – Amelia Arrows2 years ago
star wars also uses Propp's 'spheres of action' model for characters so that every character is a recongisable and relatable figure which i think has made it stand the test of time – lizawood2 years ago
In all JRR Tolkien’s lore, the Elves and Dwarves are diametrically opposed races. However, in the filmed adaptations of his works, we see an emphasis on the developments their positive relationships. In The Lord of the Rings, the camaraderie between Gimli and Legolas is a core element of the films, and there’s a not-insignificant amount of fan content created about the possibility of a romantic relationship between them. In the more recent Hobbit trilogy, a romance was added between Tauriel the elf and Kíli the dwarf prince; one that didn’t exist at all in the book (as Tauriel herself was a new addition to the narrative). It seems likely that the new Amazon Rings of Power series will also explore dwarven-elven relations (if not relationships) as well. What about Tolkien’s stories and worldbuilding has people consistently drawing these two sides together? Is it just the appeal of an opposites-attract narrative?
I think this is an interesting discussion as it could also be examined for the dichotomous attitudes to racial representations present in both Tolkien's work and the interpretations of his work. – Sarai Mannolini-Winwood2 years ago
This is such an intersting aspect of this series to explore. I personally have not read Lord of the Rings, though my brothers are big fans and I know a bit about this compilation of stories from them. I feel like one of the most powerful things about Tolkein's stories is how they create such fantastical, adventurous tales with roots in very human emotions and ideals. In a way, I think the connection between dwarves and elves is a representation of how people from all walks of life can share the same path, share comrodery and stregnth and joy through trying times. One of the greatest gifts in life is good company, and there is something hopeful and endearing in these connections between dwarves and elves-that differences don't have to be a divider, they can open our eyes to new perspectives, and help us grow for the better. – mmclaughlin1022 years ago
The idea of an apocalypse has existed in history for hundreds of years, but why in recent times has the idea of an apocalypse become to mainstream? Whether it’s zombies, nukes, or anything in between, these stories have taken a deep root in our modern culture. Is it because we feel detached from our primal survivalist selves? Take for example the show The Walking Dead. The show is a massive success, second only to Game Of Thrones during its run time. Apart from the amazing writing and impeccable acting performances, there is a certain allure to the idea of a group of at-first strangers growing into a family through trials and tribulations and lots of zombie guts. It is also interesting to see how these stories are received in different cultures around the world. For example I know that in many parts of Asia, there is a massive love for all things zombie. Why do you think this is?
Good topic! I think apocalypse-style media is cathartic. People consume it as a way to reassure themselves that what they see can't really happen for one reason or another, or that if it did, they would survive. Sometimes people consume this media and plan what they would do in certain situations. There's also an element of dark humor, as in, if we laugh at the poor decisions we think characters are making, the apocalypse won't seem so threatening and potentially realistic. – Stephanie M.3 years ago
Something really cool that was taught at the UNiversity I attended was an analysis of 'Ecocriticism and Popular Culture'. It took a deep dive into enviro-apocalypse stories (like Snowpiercer) - why we tell them and why we love reading/watching them. The concept of 'man vs wild' is a binary that has long existed conceptually as a means by which humans understand themselves. However, contemporary ecocritics have been challenging this binary. Especially now in an age where climate change and environmental catastrophe (referred to by scholars as the Anthropocene) continue to escalate. Things to research when exploring Environmental Apocalypse stores in pop culture:
- Anthropocene
- Biopolitics
- Examples of this in film/literature: Snowpiercer, Elysium, Interstellar, MaddAddam Trilogy (by Margaret Atwood) – Amaani2 years ago
Something to consider: for many people and species on this planet apocalypse is already here and we are living in a post-apocalypse scenario. So maybe these representations of "another apocalypse" are how we confront our reality that we don't want to see. – ProfRichards2 years ago
It might also be worthwhile to bring up how many cultures and people who have experienced genocide often say they live in a post-apocalyptic world and how that translates into the art and media they create (i.e Indigenous, Black cultures) – Anna Samson2 years ago
Another thing to consider is how differently post-apocalyptic films and shows are written nowadays compared to the 70s, 80s, and 90s. So many shows have been redone, with some performing well and others being worse than the originals. I think it's important that we compare what captured viewers back then compared to now. – cbrneticwrites2 years ago
Consider the role of technology in romantic relationships. For example, how many relationships begin on Tinder and other dating sites. Or how people can meet on social media and get into relationships. How are these things shown in film? Think of old tropes such as a man waiting 3 days to call a woman after a date. How does that impact audiences to watch these tropes today? For example, with this trope, how would contemporary audiences feel watching “He’s Just Not That Into You” (2009)? If it were remade today, what would be done differently?
I think the larger scope would actually be looking at the way in which romance is made, although meeting at a bar and at a workplace are still common, the uptake of romantic and sexual apps highlights the way in which "love" has changed. What I find interesting about the use of many of these match up tools, websites and apps is that they have fulfilled a role once held by friends and family. I think this would be a fun topic to explore and especially to do a little comparison of how love matches are made in film and television today and compare it to those from pre-2000s. – Sarai Mannolini-Winwood2 years ago
Dating 'rules' and romance tropes are different from each other, and it would be worth making the distinction clear in the article.
In books and scripts there is a thing called 'beat sheets' which have major events that are expected to occur in a certain genre. I recommend looking up 'romance beat sheets' for this article.
Youtubers Jenna Moreci and Alexa Donne have some great material on romance tropes vs beat sheets.
I personally don't think technology has changed romance tropes too much. Not everything can happen over messenger/text, though some does. Before this would have just happened over the phone, email or (gasp) letters. – Jordan2 years ago
Maybe consider writing about "meet cutes" and the impact technology has had on them. – derBruderspielt2 years ago
Romcoms are an incredibly popular genre, and some of the relationships – from the perfect meet-cute to the inevitable dramatic finale – are truly dream-worthy. But a lot of romantic comedies also feature clearly unhealthy relationships. Consider The Wedding Planner, where the male lead is engaged for the majority of the film, or How to Lose a Guy in 10 Days, where both sides of the couple are trying to trick one another. There are countless other examples.
It would be interesting to explore why this is. Does a relationship need to be unhealthy (or, commonly, founded upon lies) to be "funny"? Why can we set aside critical judgement of blatantly unhealthy behaviours when we’re watching these movies?
Add screwball comedies to that and it would improve it greatly. – leitercary3 years ago
The questions you pose here are very interesting. How would we define “unhealthy” in this inquiry? You seem to imply dishonesty or deception as informing that qualifier, which I think is right, but also, what of other problematics like sexist gender roles set as expectations via swoon-worthy rom com get-togethers? Perhaps this is where some of the unhealthy humor of this genre comes into play, where we laugh at the blunders the characters commit as they themselves attempt to fit the expectations of idealized heteronormative relationships— ‘boys will be boys, girls will be girls.’ – duronen3 years ago
This is a great observation, but I think it all depends on the story's climax. Usually stories like these involve some sort of breakdown or revelation in the final act: a moment where he breaks up with his fiancée, she admits that she's catfished him, secrets are revealed, fights are had or silent treatment commences, and perpetrators sufficiently repent and abandon their old ways. In great rom-coms, these unhealthy foundations often serve as a vehicle for character transformation, and such resolutions create that addictive sense of relief just before the final credits that contributes to the enduring appeal of the genre. If you'll allow me to jump on my English-major high horse, I'd say the theme goes back to Shakespearean comedies, in which relationships are fraught with misunderstandings and outright lies until they reach the Act V Breaking Point, when everything is revealed and all the liars and schemers have endured so much drama and strife for their mischief that they renounce it all and promise to behave themselves from that point on (and they live happily ever after, etc). Of course, if these things happened in real life, there would be much bigger issues, but rom-coms are their own breed of modern fantasy that are meant to be taken with a grain of salt, perhaps comparable to popular fairytales with a 'moral' the audience is meant to detect. – Emory Grace2 years ago
This is brilliant, and I agree wholeheartedly. Maybe mention the role that conflict has in any story, and consider how in a romantic comedy, tension between the central protagonists is a requirement to progress the plot, often leading to a relationship which a regular person would consider toxic. – tomgerrans2 years ago
The lack of healthy communication in rom coms makes it very hard to root for the central romance. There is little to no character development in most in this genre (apart from them realising their love for each other) and there is a high chance the romance won't last long after the movie ends. – tarushharris2 years ago
Is there such a thing as a healthy relationship? In any case, abnormalities are preferred in fiction. Normality is usually not worth telling. – T. Palomino2 years ago
Is it worthwhile to adapt YA books into TV or film? What determines if it is done well? Is it wise to change a lot when carrying over to a different medium? Compare popular examples like the Harry Potter, Twilight, The Hunger Games, etc.
This is a bit of a loose topic, but could then be left open to the person who selects it. There are a few interesting approaches that could be looked at here. Obviously there is always the element of debate around adaptations of any book to film, what to keep, what to change etc. and with this the value in such changes and the complexity of allowing the new version to speak for itself. However, when considering YA specifically this is interesting as it has become a financially viable field, and as always where there is money there is usually an agenda. What I find interesting is the wealth of "queer" and non-binary YA that is present in today's marketplace but have much more limited discussions about their application to the big screen. Is YA being used to perpetrate socialised stereotypes in a repressive manner? Another discussion is often scope, most YA are serialised (again that is where the money is), how do you successfully guarantee the transition to film will ensure the full series is made, some are very successful such as HP and HG, but others such as Vampire Academy struggled to make a mark in an over saturated marketplace. Finally, there is also the question of canon - if significant changes are made, characterwise and narrative, how does this impact the canon of an ongoing series and the fan experience, especially when considering much YA has a huge fanfiction following that values their own interpretations - so is that a can not worth opening? Indeed the fascination with YA is an interesting development rather specific to this century. – Sarai Mannolini-Winwood2 years ago
I think it can be worthwhile, but I think screenwriters and directors need to be careful with their adaptations. I personally think multi-episode show adaptations (like Shadow and Bone) work better than individual movies because movies often cut out crucial scenes in order to fit within the 2-hour limit, whereas shows can work with at least 7-8 hours of content. – isabeldwrites2 years ago
In Thor: Ragnarok (2017), Bruce Banner declares he has seven PhD degrees. In episode 7 of What If…? (2021), Jane Foster says she is “an astrophysicist with multiple PhDs.” With such statements, both characters try to assert their worth as scientists in contrast to superheroes with superpowers. However, holding multiple PhDs would be more of an educational disorder rather than a sign of academic achievement. PhD degrees are not medals or trophies that can be accumulated to show high intellect (the logic of “the more you have, the smarter you are” does not apply here). In a way, these films portray main characters whose value resides either in their intellectual capacity or their physical strength –climatically, in Avengers: Endgame (2019), we can see how Dr. Banner is able “to put the brains and brawn together.” Clearly, the MCU does not understand how academia and higher education work because imagining a scientist with seven PhDs is a more ridiculous idea than a super soldier or a man who can fly. What does this tell us about the concept of heroism that the MCU tries to sell? Is intelligence, in the form of a PhD degree, really another gimmick (like a suit of armor or a magic hammer) that can give proof of one’s value in the realm of superhero films? Why, in summation, are PhD holders so badly represented in superhero movies?
A good point. I remember that statement about seven PhDs. How? That would take an incredible amount of time. When I heard that I assumed less-than-credible programs considering the amount of effort that goes into a PhD--particularly the dissertation. I was thinking of the seventeen courses for my MA and PhD, then two foreign languages (I used Statistics for one), followed by written and oral comprehensive exams, then a dissertation just under 500 pages, followed by an oral defense of it. Sure, superheroes can do it all. – Joseph Cernik2 years ago
Interesting topic. We may have to be a little bit prudent when writing this issue... I mean not to go to another extreme denying every positive indication about the person who has many Ph.D.s. For instance, this may inform us a lot of things about him: About the knowledge that that person can deal with - About the potential that he has; every Ph.D. takes a lot of effort and time - About his state of mind; he may be someone who adores learning new things and not to learn things only passively but rather with an active contribution because a Ph.D. is not just about learning what is already there but contributing somehow in revealing new things in the domain - about his ability to change and adapt and that his status was never for him the end of the story - let's consider that we are more and more in an age that needs multidisciplinary talents, in terms of problem-solving, creativity, etc... – Samer Darwich2 years ago
