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.

Super Hero films are here to stay. Each year a variety of super hero films are being released during the course of the year. While the genre "Super hero films" is the predominant label for these films, many super hero films fit very well into other established genres. Guardians of the galaxy fits well into the established Sci-Fi genre. Captain America 2's cast and director said that the film was influenced by 70 thrillers. The trailer for the new Wolverine film title "Logan" used Johnny Cash's haunting version of the song 'Hurt' to evoke a western feel. The director and star of Logan have gone so far as to dub it a "modern western". Recent trailers for Spider Man homecoming have focused Peter Parker's high school experience, which might fit in with John Hughes films and other coming of age high school films.

A question that remains is this: What are the advantages and disadvantages of separating films from the label of "Super hero" films and putting them into other genres such as crime, western, sci-fi, and fantasy? Do we gain deeper insight into these super hero films when we examine the other genres that they are a part of.

Does saying that a super hero film like The Dark Knight is a crime film help the viewer better understand the film and thus analyze its themes?

This topic could be taken in many different directions depending the writer's interest.

Few can watch a movie like Starship Troopers, and take it seriously. Most military satire incorporates some degree of jingoism and intensity to make a political point–but all these films run the risk of offending real people who sacrificed everything for their countries. But what if you place a movie in space? Make the adversary some alien–like a bug, gremlin, or otherworldly thing? Is sci-fi military the ultimate vehicle for satire?

Explore the different topics and issues raised by this year's Oscar Nominees: Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea and Moonlight are, compared to one another, incredibly diverse, and they demonstrate that Hollywood this year has been experimenting in new interesting ways. Especially focus on issues of gender, race and genre.

A long fought debate since the dawn of the Marvel Cinematic Universe. A comparison behind the cohesion between franchises, writing, and overall story arc between DC and Cinematic Marvel and where DC is heading next in order to keep up with and eventually catch Marvel. Could take many approaches for this.

Analyze Korean director Bong Joon-Ho's filmography (specifcally Memories of Murder, The Host, and Mother) and present how he uses visuals, themes, and insertions of comedy and tragedy to show the incompetence of the Korean police force.

There have been many films that follow a romantic relationship from hopeful beginnings to an optimistic future and there are those that take it to the other end: when a relationship fails and the repercussions that entails. While some take a more realistic approach to the emotions riding through a former couple and their separation, there are others that follow one partner and see the other as almost literal monsters. Examples like David Cronenberg's The Brood which gives the main character's wife the ability to create child monsters or Andrzej Żuławski's Possession having from Mark's perspective seeing his wife Anna become a crazy sociopath and another woman as almost a double of the former, go into an almost otherworldly plane to explore how painful separation from a loved one can be. There might be other examples of this, like maybe Hideo Nakata's Dark Water, which is more of a focus on how divorce can effect children in the short term and long term in the realm of a ghost story. So I think the article should be an exploration of films that go into themes of love lost that goes more into the horror aspect and how people can seem to change into monsters when the rose tint is taken away.