Film

Mumbai, the City of Dreams, houses the prime centre of Hindi Film Industry, better known as Bollywood. Acclaimed as one of the biggest film industries of the world, Bollywood produces over 1000 films every year. Since 1913, Indian Cinema has made a long journey from simple silent movies to sound films, then colored films to technically advanced movies of the present day. Bollywood imbibed its name from the merger of the term Bombay (now Mumbai) and Hollywood, the American Film Industry.

Another point worth-mentioning is that Bollywood is just the part of Indian Film Industry, which also encompasses other language film industries. The movies churned out here are the major source of entertainment, with an audience of 3.6 billion people, which is more than half of the world's population. Bypassing the reality, Hindi films are usually 'masala' (spicy) movies that comprise all the ingredients like music, dance, violence and melodrama of a good entertainer. The languages of Hindi, Urdu and English are extremely common in Bollywood.

Analyze how the portrayal of gender roles and sexuality has changed during the last years and how it has changed in recent blockbuster films. For example the inclusion of a homosexual character in Disney's Beuty and a Beast (2017) and in the upcoming Power Rangers (2017) film.

Analyse the passing of time and how it is depicted in Tarkovsky's films. How is the concept of time relevant to the overall poetry of the work?

In the run up to mothers day what better way to prepare than by reconnecting with some of our favourite movie mothers who have had an influence on use as much as our real relatives. From Maria in the sound of music to 'the cool mum' Mrs. George in mean girls who are some of your favourite movie mums?

What do filmmakers of the horror genre need to do to improve its reception and future in cinemas? I'm not a fan of horror films; my imagination and perception when watching films doesn't allow me to enjoy them enough. But when I hear about a new horror movie release, there isn't much praise that follows. It Follows is the most recent movie I've heard of that gained great appreciation as a horror film for how it differed itself from other horror movies. Instead of making sequels or prequels to existing horror movie films, would it be better if each new film was of a new subject and story entirely? Would horror films have a better chance if they weren't sequels and covered a new idea or concepts others before them have yet to?

After the passing of its iconic and lovable star Carrie Fisher, the makers of Star Wars have reached a standstill about how to respectfully write out her character of Princess Leia. Consider the ethical, technological, and creative methods by which Fisher's memory can be served in a series built on a foundation of visual breakthroughs in film.

Juxtapose the Biblical story of Cain and Abel with Milos Forman's film Amadeus. Posit that the relationship between Salieri and Mozart mirrors the relationship between Cain and Abel.

Salieri perceives that God has betrayed his faith by granting more talent to Mozart, similar to the ways in which Cain feels that God has given Abel the upper hand. While Mozart's cause of death was not murder, Salieri repeatedly expresses a desire to kill him. Salieri also spends so much time manipulating Mozart, while Mozart spends most of his time composing; similar to the work ethic of Cain and Abel.

At the end of the film, Salieri attempts to play God by "absolving" himself and his fellow psych ward inmates, much like Cain tries to play God by taking away a life.

Princess Mononoke (Miyazaki), Paprika (Kon) and Akira (Otomo) were landmark films in the development of Japanese animation in the late 1900s and early 2000s. Otomo's magnum opus has had an unprecedented impact on science fiction. Miyazaki's groundbreaking work established his reputation as Japan's most skilled animator. Kon's film, on the other hand, is a showcase of his inimitable style paired with his excellent editing, detailed in a video by Every Frame a Painting.

(Spoiler Alert)
All three sport a familiar plot device that kicks in in the third act: the presence of an omnipotent being, though not quite fitting entirely in the definition. The three films end with the presence and emergence of a godlike figure-in PM, the Forest Spirit, in Paprika, the chairman and eventually Chiba/Paprika herself, and in Akira, the eponymous character. Personally, i found these three films (both because of their similarity in portrayals of omnipotence yet varying style, as well as the proximity of their releases) as good examples of a possible investigation into Japan's preoccupation with omnipotent and powerful beings (most involve a kind of ascension, a veil that is passed through, a barrier crossed). Perhaps one could go further into analyzing Japan's postwar cultural booms and how they eventually culminated in such films.