WWE recently collaborated with HBO to make a documentary, and you don’t need to care one iota about wrestling to find the whole movie enthralling. The documentary, called Andre the Giant, examines the life of the titular wrestler. Analyzing how the documentary humanizes a man who was often portrayed as a monster could lead to an interesting article.
The Greatest Showman is a movie-musical that explores the (partially fictionalized) life of P.T. Barnum and the development of the circus. It hasn’t been widely criticized for the erroneous portrayals of certain characters and the way in which it manipulated the story.
This topic would explore the historical accuracy and inaccuracies of the movie and work to illuminate the historical elements that the movie worked to cover up through its narrative.
Nice, but you could go well beyond The Greatest Showman if you wanted. If a movie is historical, you can pretty much bet it will be riddled with inaccuracies. Thirteen Days is the movie that comes to mind, but even historical fiction has this problem (Pocahontas, anyone)? I think it would be beneficial to explore historical inaccuracies in movies, in general. Which inaccuracies are we more apt to accept? Why? Which historical events are glossed over or ignored, or changed? I see a wealth of possibilities here. – Stephanie M.7 years ago
I like this topic, expecially when it is considered in broader terms like: should art strive for historical accuracy, and how accurate must i be? One could also consider whether an artist is ever obliged to represent history inaccurately. I could see this being the case for purposes of racial or gender representation in art. – alexbolano927 years ago
I would love to read this topic. After watching the movie, I was wondering about its historical background, and how accurate it was. The movie is excellent (I'm not saying it's not), and I love the songs, and everything, but I know people wouldn't have danced to pop music back in the 1800s (was it?). – sterlinajames7 years ago
My dad actually made this comment after watching the film. He wanted to know how much of the film was actually accurate, and I believe this would be an interesting read! – snlfilm7 years ago
PT Barnum definitely came across better in the film than he did in reality. It would be interesting to look at not only what historical inaccuracies there are, but why. For example, Barnum's first "freak" was an 80 year old woman who he claimed was much older than that. When she died, he sold tickets to her autopsy. In the movie, there is a relationship between Barnum and Jenny Lind even though that never actually happened. I do love the songs in this film, but there were many historical inaccuracies that erased Barnum's racism and abilism. – banne7 years ago
I agree with alexbolano92. I think this is a good topic. And it deserves a close look at how accurate a historical movie could be and should be. – Jingyi7 years ago
Typically the nationality of bad guys in film and television storylines is Russian, and more recently North Korean (or an un-named Asian nation such as in Tomorrow When the War Began). Is this selection merely a historical choice due to past conflict?
How does this play in to real world perceptions of these nations today?
Very interesting topic that I think could turn into an excellent article. It could chronologically follow the trends of how the antagonist other is represented in media throughout history and examine how they reflect the contemporary zeitgeist; Russia during the Cold War, terrorism post-9/11, North Korea more recently, etc. Going for a broader and more nuanced perspective, you could also compare this to non-Western examples. One film that comes to mind is Ip-Man 2, which has a pretty blatantly antagonistic depiction of British imperialism, reflecting Hong Kong's complicated (post-)colonial history and present. I'm sure there are other great examples as well if you dig into it. – blautoothdmand7 years ago
I am accepting this in the spirit of it rather than the letter and assuming the discussion is in relation to Western representations of villains.
I think there is a strong connection to the perception of the villains in film/TV and those in the culture that produced them, which is normal. What would be interesting to look at is when particular nations are represented as villains at different times and what incited change. – SaraiMW7 years ago
There's definitely a culture of finding and portraying the villains where you want them to be- similarly to how gender-diverse people are often the villains in TV and movies, in an effort to subtly portray them as deviants and demonise them (literally, in the case of characters like Him from PPG)- for decades people have portrayed Nazis, Russians, and more recently people in the Middle East as a sort of uniform evil without much need (or desire) to dig deeper into it. If you refer to the beginning of Black Panther you also see an example of a slightly vague fictional Boko Haram or similar African Muslim extremist group taken down by T'Challa in a style reminiscent of shooter game missions with the objective of 'take down these villains, save the hostages, shoot first ask questions later'. In the rise of neo-nazism there is sometimes objection to these uniform representations of their predecessors as evil- and certainly there are muslims I know who were bothered by the way black muslims were represented as faceless villains. I feel this topic is most interesting in regards to how and why people fight against stereotypes and perceptions, rather than simply cultural shifts. – GRandall7 years ago
John Wayne was seen as the epitome of the American Hero during the age of the Western film. He was beloved by many, even with his strong conservative politics and often brash language. However, in the 60s, America's view shifted. They no longer looked to Westerns for inspiration and John Wayne, while still beloved, faded to the background (as symbolically seen in "The Man Who Shot Liberty Valance". I would like to see an analysis of John Wayne's connection to American culture further, and his impact on American culture long after America turned away from him.
Something interesting one could pursue while contemplating this topic is James Baldwin's discussion of John Wayne in his unfinished book- now a film- "I am Not Your Negro." In it he discusses heroes, in particular figures like John Wayne; a perspective like this I think could be an interesting frame of reference for a topic like this. In particular, I find this quote of Baldwin's to be very powerful: “A Black man who sees the world in the way John Wayne sees it would not be an eccentric patriot, but a raving maniac…The truth is that this country does not know what to do with its Black population.” – ees7 years ago
This is an interesting topic, especially because westerns seem to be having a comeback after a long dry spell. Between the Magnificent 7 reboot, Hostless, Godless, and Westworld, westerns are back in fashion. Are these new westerns evidence that audiences wish to rekindle themes of John Wayne movies? – Ben Lashar7 years ago
An analysis of the appeal behind modern movies that attempt to re-create the aesthetics and storytelling elements of grindhouse and b-movies from the 50s, 60s, 70s, and 80s. This analysis could explore themes of nostalgia, kitsch, and DIY film-making. Some examples could include "Black Dynamite," Kung Fury," "Italian Spiderman," "Hobo with a Shotgun," and "Planet Terror/Death Proof."
Let's not forget the Turkish 'Star Wars' - a classic! – Amyus7 years ago
This would not only be a great synthesis of the history of b-movies and how past b-movie themes are being seen in today's movies. I also think that this is a fascinating topic to explore. – FrankWebb7 years ago
I think that a lot of Tarantino's work could actually be considered B-grade yet to the highest of calibre. Whilst his work is very much commercial and critically renowned, his writing, cinematography and overall direction is influenced by past B-grade films and influences many B-grade films to this day (like Kung Fury). – aarondiplacido7 years ago
The star system was the method of creating, promoting and exploiting stars in Hollywood films. Movie studios would select promising young actors and glamorize and create personas for them. They would go so far as to give them stage names and Cary Grant's real name was Archie Leach. Now, the phenomenon of the movie star is still used to lure audiences to the cinema. It leads to multi-million dollar paychecks, TMZ, and outrageous staking behavior from crazed fans. Is it time for this to end? Should there be caps on actor paychecks? Should we end tabloid news circuits? Should we stop televising award shows? Would it benefit society? Would it bankrupt Hollywood?
Yes. It's about time that this crazy star system should end and more reasonable salaries or fees introduced. When it gets to the point whereby an actor can command a multi-million dollar contract and yet a struggling British nurse cannot even receive a decent pay rise, despite working a 60 hour week, then something has gone seriously wrong with the world (excuse the politics). So, yes to capping actors earnings, yes to ending the tabloid news circus. Awards ceremonies are shams and as to wether it would bankrupt Hollywood - who really cares? – Amyus7 years ago
I have all sorts of questions about fairness and legality:
Who would have the authority to put caps on actor paychecks? Who would have the authority to end tabloid news circuits?
Can we reasonably cap the paychecks in one industry but not in others? What about company CEOs? Or big sports players? What makes the entertainment industry so in need of (selective) regulation? – JamesBKelley7 years ago
In a capitalist system, money is often diverted towards that which society perceives as requiring greatest demand. If a doctor makes one person healthier in a day, but a movie star makes 10,000 people happier in an hour, how else should one expect the remuneration to be allocated? – Psiwrite7 years ago
Analyse how the use of silence in "A Quiet Place" makes the sparse *spoken dialogue more meaningful. In addition, how the use of silence heightens the tension during "monster" scenes in a new way than other similar movies in the thriller genre. Another question to ask would be the following: does the use of silence make the visuals in the movie even more powerful because *spoken dialogue is not a distraction? Or would more dialogue be helpful in the movie? *One part I overlooked and which was pointed out to me is that ASL importantly figures into the plot as dialogue. This is another aspect of analysis.
there are a lot of issues and themes to tackle in this film, and I think this is a great place to start. it should be noted, however, that despite the sparse dialogue the film still relies heavily on music to create a feeling of suspense and to intensify scare scenes with the monsters- this is by no means a silent film. such, I think specifically when investigating their use of so-called "silence," it is important to consider their inclusion/use of Deaf people and culture; the presence of a cochlear implant, for example, has a lot of political implications. while their lack of dialogue is interesting, even more so with its being replaced with sign language, i think it is important to note that their continued reliance on music disrupts their otherwise "Deaf-inclusive" endeavor. – ees7 years ago
additionally, something else that could be investigated is the question of why ASL/sign language is not considered "dialogue" itself. what sort of normalizations are occurring when one draws a distinction between spoken language as "dialogue" and signed languages of not meeting the standards to be considered "dialogue"? – ees7 years ago
As 'ees' has already noted, regarding the topic of ASL, it might be valuable to address the visual nature of sign language in relation to the emotional impact and uniqueness of the film. When signing, facial expressions and movements convey tone, context, and variance of the sign/word so much of the communication is still based on visual cues, which may be a way to address the use of ASL within the plot. – Jennifer7 years ago
I think the music is working hard in the places where dialogue and ASL are not used, and it would be interesting to analyse how silence is used in other horror films - with silence coming just before something happens (e.g. monster jumps out). – Emily Cecchetto7 years ago
I think it would be really interesting to compare the following: how female protagonists who are going through some sort of dating/relationship crisis when they are older are treated in comparison to movies about males going through the same thing. For instance, how This is 40 or The Other Woman compares to films like That Awkward Moment. The representation of how the female is 'supposed' to handle it according to the plot line vs. how a male in the same position is 'supposed' to handle it would be a key emphasis here.
interesting topic! you can see this situation addressed directly in 30 Rock, where the main characters Liz Lemon and Jack Donaghy discuss the different dating cultures of men and women as they age in the episode "Lee Marvin vs. Derek Jeter." – ees7 years ago
Very interesting topic, love the idea! You could also discuss Reese Witherspoon's film from last year, Home Again. – Zoe Azile7 years ago
