The emphasis today is on getting through the day and we forget to romanticize life. Why have human beings lost connections with nature and self?

When first written by Mary Shelley, Frankenstein’s Monster was an intelligent, eloquent, and even sympathetic-in-some-lights character. The character underwent an evolution in popular culture to become an easily recognizable horror monster – a big, green, lumbering, incapable of speech or intelligence brute. Recently though, there has been a shift back to depicting Frankenstein’s monster as a misunderstood character who is equal to humans with emotions, intelligent thought, and a desire to belong. Why and how has this evolution has happened?

In Dante’s fictional journey to hell with Virgil the poet as his guide, the vast majority of the damned that are encountered want Dante to tell of them back in the temporal world. Examples of this are Dido, Queen of Carthage (ironically written about in real life by Dante’s guide) and Ciacco the Glutton (blatantly so considering that “ciacco” is the Italian word for pig, and he behaves and looks as such).

Analyze why those in Inferno want to be remembered. Is it because this is the only joy that they have left in their horrid states (to be remembered and with the possibility of being remembered fondly)? Indeed those that do not want to be told of (mainly in the 9th Circle) did things so horrid that no fondness would be drawn in being remembered. Or is it for a more selfish reason? Does this express subtlety that pride both goes before the fall and is at the root of all evil and feeds all other evils?

Depression, anxiety disorders, and other mental and emotional malaises are more rampant than ever. The stresses of everyday life and the constant feed of nearly apocalyptic news reaching us on a daily basis surely have something to do with our collective plight.

How well do psychological horrors, like Psycho (1960), The Shining (1980), Jacob’s Ladder (1990); and psychological thrillers, such as The Machinist (2004); capture our current state of dis-ease?

Movies based video games have a fraught past. From the goofy live action Mario Bros movies to the more modern and highly divisive Assassins Creed film, the level of success has not been high or constant for that matter. For the piece you could research a short history of some prominent video films and their failings, as well as any successful video game films, and give some insight on why the movie industry has such a strong disconnect from the gaming world.

Is it because studio execs don’t think the gaming community wants movies based on their games? And do they?

How does this relationship compare to the relationship between books and film? Why is it so easy to adapt a book but not a video game into film?

One could be quick to jump to the idea that it’s simply economics: studios don’t think the video game adaptations will make money. But this all changes in 2020, with the video game market being worth more than film and sports as of recently. Video games are where the money seems to be, so why aren’t these films put in the right hands with the right funding?

Justin Benson and Aaron Moorhead have been making horror films for almost a decade. At least, that’s how their films are classified. Upon watching them, there aren’t any jump scares, no masked killers, no creepy asylums, nothing like that. Instead, in their films Resolution, Spring, and The Endless, a large part of the running time consists of characters discussing their complicated feelings towards their situation, while the horror quietly unfolds in the background, leading to works that feel like they’re about ordinary people in extraordinary circumstances. With thick atmosphere and deep writing, the filmmakers instead seem to make other genre films with horror elements. Resolution is a character drama, Spring is a romance, and The Endless is science fiction, but all three have horror undoubtedly featured. Try to explore why each film might be called horror, and also why they might avoid the label. Also some points to keep in mind are how the character arcs are informed by the horror parts of the narrative, how the directors are able to maintain a grip on atmosphere, and why the scarier elements are essential to the development of the plot.

’60s and Mid ’70s films made during the Conspiracy Thriller boom such as Manchurian Candidate (1962), Parallax View (1974), All the President’s Men (1976), and Stepford Wives (1975) seem to coordinate a critique or valorization of specifically American contexts. Manchurian Candidate demonstrates a stunning loss of American wartime innocence and domestic conspiracy in the same year John F. Kennedy was assassinated, resulting in the film being pulled from theatrical release. The Parallax View takes the notion of an American working against his/her own people a step further by enlisting an actual domestic cabal pulling the strings behind a patsy. All the President’s Men brings this fear of local threats home (literally and figuratively) with a very accurate retelling of the Watergate Scandal, a scheme that went right to the Oval Office. The purpose of this essay would be to select two to three of these films and identify what conventions used within these films spoke to an American context, and if possible, find what these films critiqued about American society in greater detail and how these concerns are relevant today. Some of the conventions include themes, characters, locations, symbols, and color coordination.

Ebooks, despite being easier to access, quicker to arrive, sometimes cheaper, and easier to store than physical books, have never managed to outsell physical books. In fact, they do not even come close. Explore the possible reasons why this might be the case: material nature of print, satisfaction of flipping a page, ability to show books off, an examination of the differences between platforms (Kobo, Kindle, etc.), e-platforms (Kindle app, Google Play Store, etc.), and file types viability (epub, pdf, etc.), and the aesthetic/artistic parts of the physical book.

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