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.
I would strongly encourage whomever decides to write this topic to pick just one or two of these films, maybe three maximum, to discuss in greater detail. The argument could become confused if the writer attempts to cover too much. By narrowing the focus, the writer will have more space to delve deeply. Of course, it is ultimately the writer's prerogative. – Samantha Leersen4 months ago
Thanks for the suggested revisions. It was my intention to give those films off as a list of possible examples to select from rather than propose to cover them all in one go. I went ahead and corrected it. – Runestrand4 months ago
Analysis on the joys and failings of the reboot, addressing all female reboots, sequals, or revivals, such as Oceans 8, Gilmore Girls Revival, Twin Peaks revival, etc. It is easy to be swept up in the excitement on nostalgia, but it often doesn’t deliver. Lets look at why we cant always take that fuzzy feeling to the bank, by observing the box office reports as well as the public response and universal criticisms found in most of these films.
In the film True History of the Kelly Gang, a fictional take on the outlaw Ned Kelly’s life, relations between Britain and members of the Commonwealth (in this case, Australia and Ireland in the 1870s) play a central role. Themes of displacement begin with Ned’s Irish-born parents’ (especially his mother’s) sense of alienation in Australia and distaste for anything that reeks of British influence. This feeling continues with Ned’s propulsion into the role of “man of the house” when his father dies and then when his mother secretly attempts to sell him into servitude for some quick money. Derision of authority figures partially stems from forced separation from or abandonment by one’s home (whether it is one’s country or familial circle).
In connection with relations between nations of different power dynamics, gender plays an important role here as well. Despite the reluctance to perform an expected role, there is a strong male desire to be powerful enough to defend female honor from outsiders (i.e. the sexual exploitation of Ned’s mother and sister) that culminates in the Kelly Gang’s string of police-related murders. Ned is encouraged to “Die a Kelly” and give up his own life for his mother, even if it is at the expense of his unborn child and its mother. Ned’s entry into gang life begins as a “Son of Sieve,” an Irish rebel who dons overtly feminine dresses into battle to appear crazy and, therefore, more frightening. By the end of the film, in contrast, Ned Kelly is finally captured after wearing heavy, uber-masculine “bulletproof” armor in a gunfight that results in the bloody massacre of his men.
What connections are made in the film between male and female dynamics and Britain’s relationship to members of the Commonwealth? How does simultaneous suicidal devotion to a reigning power and an internal aversion to fighting someone else’s battle with the promise of little to no personal benefit play out? What does the film have to say about these opposing tensions and their consequences within this fictionalized depiction of Ned Kelly?
The 1980s was a great decade for children’s movies. From The Neverending Story to The Princess Bride, from Return to Oz to Chitty Chitty Bang Bang, young audiences had all kinds of new cinematic stories to whet their appetites. Some movies, like ET and The Black Cauldron, went on to become classics (or "cult classics") and achieve great fame even if their initial box office performances were less than stellar.
However, the kids’ movies of the 1980s are famous–or infamous–for scaring kids, too. On YouTube especially, but also other forms of social media, you can find detailed discussions of which films and moments from this decade were the scariest and what effects they might have had on kids. As adults, millennials might look back at these movies and wonder, "What were we, and our parents, thinking?" But we still hail these films as classics, and mainstays of the children’s cinematic canon, so to speak.
Choose one, or perhaps two, of your favorite scary ’80s movies for kids. What made them memorable? What made some scarier, thus "better" or "worse," than others? Has cinema "softened" too much toward kids since the ’80s? If yes, what could it do to bring the edge back (do we need/want it)? Why do you think scary moments from kids’ movies stick in our minds, and what would it take to create such memorable moments now?
I remember the scariest 80s movie to me, as a kid, was Gremlins. It was hardcore and uncompromising, with some grotesque violence, threats of animal abuse, and most memorably the bomb-drop that there was no Santa Claus after a horrible story told by Phoebe Cates about her father's death. Gremlins was absolutely uncompromising in the realm of harsh reality. Since the eighties, mainstream cinema has doubled-down on the disturbing for adults and spares kids the slightest wink of real-world danger for the most part. The bit that seems especially odd to me is the total refusal now to kill the villain. I think children's movies are an incredible medium, or were, but there's no element of conflict anymore, which A, never gives kids that cool opportunity to see something frightening in a movie, and B, never gives kids the chance to form their own moral stances and see the clash between real good and evil. By lightening the conflict of children's cinema's stories, kids are left to believe that good and bad can always find common ground. By always letting the villain live, kids never feel that triumph anymore. Bring back the bad guy and whack him. – HankMelluish4 months ago
The cartoons were also pretty bad for scaring kids. Case in point: "The Secret of NIMH" (1982). I still find it disturbing as an adult.
Then again, it was better than the sequel. – OkaNaimo08192 months ago
A list of the most well-received infinite time loop movies and how they managed to keep it fresh. Analysing how each one, like the recent Palm Springs and TV equivalents like Russian Doll, handled this well-known concept but changed enough to keep audiences interested.
Thanks for the note, the piece was actually more to acknowledge how popular this type of movie is despite how many of them there have been over the years. I think going into too much detail on one would go against the idea of it and instead some shorter analyses on a few different films would be better. Showcasing their varied approaches. – Marcus Dean4 months ago
Inception is a highly popular film with an incredibly divisive ending. The whole movie takes the audience on a journey through exciting and complex dreamscapes, as Dom Cobb tries to pull off a reverse, mind-heist. Instead of stealing secrets from unconscious victims, he must plant an idea into someone’s head. Even though the film was wildly successful, the ending was very anticlimactic. At the end of the movie, the top spins. If it stays spinning, the characters are still in a dream. If it stops, the characters are living in reality. The characters watch the top spin one last time, to find out their fate. While the top is spinning in the most suspenseful part of the film, the film ends. The audience is left not knowing if the top was going to keep spinning, or come to a full stop. Was this a satisfying end, or a complete cop-out?
Really interesting open question about open-endedness. Could definitely reference the similar (although in my opinion, much less successful) end to Tenet too. – Marcus Dean4 months ago
I loved the movie Inception and really like this topic. I think that exploring the other works of Christopher Nolan e.g. Interstellar, Tenet, Dunkirk etc. would aid in exploring Inception's goals as a movie through the lense of Nolan's directing approach and treatment of time, space and reality. – rbryan144 months ago
The title is a simplification, but one of the things that defines sci-fi is gaving science as a frame for the possibilities of the world. There are many classical sci-fi topics such as space exploration and time travel, for instance. I am interested in thinking about sci-fi on a very small scale. I can’t really think of many examples from the top of my head. "Melancholia" and "The Piano Tuner of Earthquakes" would be examples where the sci-fi elements dwell in the background. Any thoughts?
Could you kindly correct the typo "gaving?"
– Munjeera6 months ago
Interesting. You might delve into the original Twilight Zone series (you can find it on Netflix) for examples. Several episodes deal with spaceships, aliens, and/or space exploration, but just as many do not. Personally, the ones that do not are some of my favorites, partly because the "usual" sci-fi elements aren't used. – Stephanie M.6 months ago
H.G. Wells’s literature could prove useful here for some ideas. – J.D. Jankowski4 months ago