Film

Analyse how the male characters are perceived in Avengers Endgame; especially the character of Thor. The movie breaks down conventions surrounding strong, and stereotypically masculine characters showing Thor in despair and defeated unable to deal with his 'failures'.

We’re seeing an increasing number of movies where the majority of the music is unoriginal, but the music is one of the best parts of these movies for many people. Examples include both Guardians of the Galaxy movies, the Shrek series, and Gnomeo and Juliet. For the movie Baby Driver, action scenes were carefully choreographed to match the soundtrack, rather than music being composed or selected to match the action. Movies about musicians, like Bohemian Rhapsody and the upcoming Rocketman and Yesterday, are in similar situations. Can we call these films Art Films? Is their unoriginality a flaw? Can they be compared to movies with iconic, original scores by John Williams or Michael Giacchino? Are they only becoming more popular because we are in an era with so much good “classic” music to fall back on?

Christopher Nolan's epic 2010 blockbuster Inception drew on centuries of literature and philosophy. From Zhuangzi's ancient Chinese story of a man who dreamed of being a butterfly to the dream labyrinths of Borges to the work of Philip K. Dick, there is a rich literary history of ideas tucked inside this movie. Analyze the influences and help readers find the books that helped inspire this great film.

There have been many wonderful adaptions of popular novels, and also many terrible ones. What story elements must be kept faithful in order to appease fans and draw in new viewers. Is it important that the characters look the same? Does symbolism have to be exact?

The actor puts on a memorable performance on stage, by television, through radio, in film, and at times even the political or business arena. Shirley Temple started frolicking before the camera at the age of 3 by mesmerizing both young and old with her voice, dance, and then with her diplomacy for the United Nations. In the 1930s, Lucille Ball captured the attention of men, women, and children by her stage debut, modeling exploits, and as a studio executive. Carol Burnett entered the stage in the 1960s and endeared a generation of fans through televised comedy, earning her a Presidential Medal of Freedom for her unique brand of entertainment. Explore these unique facets of showmanship; child actor, slapstick comic that harkens to the burlesque of yore, public persona as a venue beyond conventional female roles, as a transformative mechanism of expression, realization, or determination.

The carhop made its debut in the 1920s alongside the advent of the early automobiles. It would been forgotten were it not for having a part in the 1973 film, American Graffiti. The concept quickly evolved from customers who preferred to dine inside their car, to initially male carhops that were later replaced with female carhops in order to increase profits. The Sonic Drive-In restaurant is a return to this novelty of yesteryear. More to the point, cinema has catered to the inclination of many people over time. The earliest attempts involved storefronts that were converted to impromptu movie houses. A motion picture was projected onto a wall for viewers who were charged a pithy entrance fee; hence, the name Nickelodeon. This popular diversion led to larger movie palaces (doubling the entrance fee) due to the demand for more comfortable viewing accommodations when longer shows became the attraction. A pattern that has elevated from the mime street artist, to the flea sideshow that was part of the traveling circus, to the theater. Indeed, the theater itself has undergone a plethora of embellishments in order to dominate its market and to stave the onset of competing technology. It has experimented with silent actors, 3D renditions, Dolby sound, CGI animation, IMAX, to name some of the more popular effects. One cinematic event did create a noteworthy following, for all the hurdles it endured. The drive-in theater required mere open land, a wall, and window-mounted speakers to attract moviegoers. This setting appealed to families, teenagers, and film enthusiasts alike. Relive the nostalgia as well as the monumental challenges (nationally or internationally) that drive-in promoters tolerated in order to deliver the show: inclement weather, night cover restriction, and overall outdoor nuisance in order to mount the ultimate movie experience of that era. Was it a sign of the times, a shift from convention, or an industry in flux?

There's been a bunch of new live-action anime movie adaptions in recent years, Death Note, Fullmetal Alchemist, Attack on Titan, ect. And they're garbage. All of them.

Article would explore why its so difficult to make the jump to the third dimension. Some of these IP's print money, why don't they make good Blockbusters? Is is an East to West thing? Is it something intrinsic in jumping medium?

This is an outgrowth of a few comments I noticed on my article about The Marvelous Mrs. Maisel–the issue of widows was raised. It might be interesting to see how widows have been presented in movies, say, a movie from each decade from the 1950s to the present (or beginning before the 1950s). Movies can reflect the values and norms of a period in time so what changes are seen and how do they reflect changing values? A 1947 movie, The Ghost and Mrs. Muir, starred Gene Tierney (as a widow) and Tex Harrison (as the ghost). Or, the 2018 movie, Widows, starring Viola Davis and Michelle Rodriguez. What impact did and do these movies have on how the public looks upon widows?