Non-human antagonists enrich storytelling by pushing the boundaries of imagination and challenging both characters and audiences to confront fears and truths beyond the human realm.
Interpret how earthquakes have been used as non-human antagonists in the movie 'San Andreas'
The writer has been guided, the non-human antagonist to focus on for this post is the earthquake – Laurika Nxumalo3 months ago
Would you personally read a human or non-human antagonist. Let's put it this way, I feel the reason a humane protagonist and antagonist is generally more popular because it is relatble. – evandyc59 mins ago
It turns out that a “Matilda cake” is an actual item on menus around the world. The Internet is full of recipes to recreate the decadent cake from the Danny DeVito movie (1996). There are also recipes to recreate the Cuban Pork Sandwich from “Chef” (2014) and hundreds of other meals. These are not anomalies. People love to recreate meals from movies in order to “feel” an experience. An analytical article about this phenomenon could explore not only the reasons behind it, but also the ways fiction shapes reality. The article could also evaluate the capitalistic tendencies to profit from these cravings.
This is actually a really useful topic that's worth exploring in some depth. It's interesting to note as well that in addition to recreating food from movies (or other aspects of popular culture), there are also cookbooks which are based on a particular fandom but whose recipes aren't always explicitly drawn from the source material. The only thing I will say is that this phenomenon extends way beyond movies and into all aspects of popular culture, from books to TV series to video games. – Debs4 weeks ago
This is an interesting topic. It's fascinating to know that the Cuban Pork Sandwich recipe was actually developed by a real chef – Roy Choi. The writer could also look at who came up with the recipes - the backstage chefs – Laurika Nxumalo3 weeks ago
Tragedy in cinema is a large genre (Forrest Gump, Marriage Story, Steel Magnolias, etc.) but why are we drawn to movies that make us cry? Is there a similarity to listening to sad music? Maybe a big, cathartic cry is just what's needed to make it through a tough week. But does tragedy in cinema help us to express our emotions or make us feel worse?
Discuss how tragedy relates to the ideas of romanticism, and why these themes are still prevalent in today's blockbusters.
Traditionally, the intention of tragedy has always been to cause catharsis (pleasure through pain) to the audience. But it has been discussed that many other genres or artistic forms can also produce or invoke catharsis. In the end, it is all a matter of personal or cultural preference. If it is true that some people are attracted to tragic stories, it is also true that many people actively avoid any form of tearjerker, too. – T. Palomino2 years ago
I think this could be examined through a lens of either upward or downward comparison: does seeing depictions of suffering more significant than ours elevate ourselves and make us feel better about our own relatively insignificant problems, or does viewing suffering as adjacent to our own validate our emotions and allow us justification to be upset? – lavenderhatchet2 years ago
Psychologically, negative events affect our brains more than positive ones. Tragic events have the potency to describes the higher amount of psychological arousal that a person experiences and is exposed to a negative or traumatic event compared with a positive event – Kammil2 years ago
Tragedy and comedy are two sides of the same coin- large, visceral emotions that often evoke a physical response in us; the same can be said of romanticism, though in a more subtle state. I think it would be interesting to compare the historical trends of popularity of tragedy in popular media and correlate that with what was happening in wider society at the time. – lbarling2 years ago
I believe such movies help us to deal with the our subconscious pain. The writer could look at ways tragic movies or tv series' help us mourn – Laurika Nxumalo3 weeks ago
How about also looking at, who between men and women are drawn to such movies - the emotional appeal of these kind of movies – Llory James2 weeks ago
Generally speaking, swimming pools are modern status symbols. They represent wealth, freedom and control. In movies and TV shows, this symbolism is often exploited for various purposes. In coming-of-age movies, for example, swimming pools can help portray youth and fun. However, sometimes a swimming pool can also symbolize decadence and abandonment (if it’s dirty or contaminated, or even if it’s empty). In “Breaking Bad”, for instance, people piss, vomit or bleed out in pools. Walter spends a lot of time cleaning his pool, but nobody actually swims or has fun in it. What movies or TV shows use swimming pools to represent deterioration, corruption or even sin? This topic should focus on the ominous side of swimming pool representation.
Swimming pools often serve as powerful visual metaphors in film and TV. In The Great Gatsby, the pool symbolizes Gatsby’s wealth and ultimate downfall, as it becomes the site of his tragic death. Similarly, Sunset Boulevard uses a pool to reflect faded glory and despair. Your mention of Breaking Bad is spot on—Walter’s pool is a constant reminder of his moral decay. Any other chilling pool scenes come to mind? – danielledunham2 months ago
The topic taker should examine both the DCU Cinematic Universe and the Marvel Cinematic Universe. Specifically, the topic taker should consider the ways in which the handling of adapting comics to film or broader mediums brings attention to the superhero genre. For example, Spider-Man (2002) is considered to be a major success for a superhero movie, following the success of X-Men (2000). Does the attention that a cinematic universe creates gain new audiences for certain characters, regardless of the franchise, or is a divide created between the film adaptation and the comics? Are there aspects of the DCEU and the MCU that keep the superhero movie franchise fresh, or is the genre stagnating? Specifically, consider how Marvel's multiple phases might actually be daunting for a newcomer to the superhero franchise. The topic taker should dig into these questions, reviews of major movie entries, and should also consider what could be done to improve how superhero stories are told.
While a theory about the newly announced Superman movie, this seems to bring up some interesting points on the direction DCU may be taking, and hints at some thoughts surrounding the superhero movie genre: (link)
While potentially biased, this Wikipedia page has a discussion board on the reception of the MCU, and may prove to be a decent starting point into understanding how the MCU performs: (link) article: List&text=The films within the franchise,14 Hugo Awards, winning two.
Just to note, the DCU and DCEU are two distinct cinematic universes with different continuity. DCU is a soft reboot of the DCEU. – Sunni Rashad2 months ago
Pi's storytelling is another method of psychological survival. The narrative itself can be seen as an attempt to make sense of his trauma and find solace in a version of events that is more bearable than the brutal reality.
I feel this could use a bit more context for the potential writer. – Sunni Rashad4 months ago
The writer could explore further the psychological element of storytelling in order to deal with trauma – Laurika Nxumalo4 months ago
This article could analyze how schizoid personality disorder (SPD) is portrayed in movies, examining both accurate depictions and those that lean into stereotypes. It could explore characters from films like Taxi Driver, Her, or Donnie Darko, discussing how their emotional detachment, introspection, and isolation reflect aspects of SPD. The article might delve into how these portrayals provide insight into the human experience of disconnection, often serving as metaphors for broader societal issues.
You might also consider discussing the challenges filmmakers face in representing SPD authentically while balancing narrative engagement. Exploring the potential impact these portrayals have on public understanding of the disorder — both in terms of awareness and misconceptions — could add a valuable dimension. Addressing how the nuanced representation of mental health contributes to more empathetic storytelling would make the topic particularly relevant in today's cinematic landscape.
I think Christian Grey from “50 Shades of Grey” would be a good character to look at with regard to the depiction of SPD – Laurika Nxumalo4 months ago
The original Jumanji (1995) remains a nostalgic classic almost 30 years after its release. Its technologically updated sequel might have gotten the side-eye from the original film's devotees, but also pulled in a flock of new fans, as evidenced when a third movie invited viewers back to its jungle. Zathura, which featured a space-themed board game, is arguably less beloved than the Jumanji films but has plenty of fans. And the new film Family Pack has thrown players of yet another magical game into 1497 France to face werewolves while grappling with their personal problems, deep emotions, and general dysfunction.
Analyze the presence and appeal of magical board games in family films. What makes magical board games the right catalysts to bring families, siblings, or even strangers (thus, "found family") together in these films, as opposed to say, video games or a game on the sports field or court? Do these films have something special to say to families in today's technology-driven age and if yes, what is it? Do "magical board game" stories have potential as a bigger subgenre, and if yes, what other board game themes, family structures, or themes of the human condition could be explored? Use the mentioned films as a jumping off point, but feel free to explore what as-yet-untapped plots might look like.
Another movie with magical games is Labyrinth (1986) – Laurika Nxumalo3 months ago
