Topics: Sam

The phrase 'empathy machine' was first used to describe the way that watching films can give the viewer an understanding of what it is like to be someone different (different age, gender, nationality, etc.). More recently, it has been used in reference to virtual reality technologies and their ability to allow users to 'embody' someone else. The claims of both of these mediums as empathy machines rests upon their alleged ability to allow the viewer/player to understand and feel what others feel. This empathy is, of course, something they cannot get from their own life as they do not have the same shared experiences that the machine is allowing them to have. Thus, these tools as empathy machines are profound.

But, to what extent can literature be seen as a so-called empathy machine? Using a selection of texts, discuss how they can provide the reader with the knowledge necessary to empathise with those depicted in the texts. This could include fiction, where the reader is learning about the life of someone unreal. Or, it could be non-fiction, where the reader is learning of the life of a real person. Ensure that the specific empathetic qualities of literature are discussed. This might include literature's reliance on imagination, or the way that written texts allow for lengthy and in-depth first-hand accounts.

The potential writer of this topic could provide an overall assessment; is literature more or less effective than film or V.R. in creating empathy? Why/why not?

The act of catfishing — pretending to be someone else online to lure someone into a false relationship — has become a somewhat common occurrence. This also means that this behaviour has started appearing in more entertainment media. This, then, begs the question. How is the act of catfishing portrayed in media?

An analysis of this topic could start with the TV show Catfish, which depicts the act as cruel whilst simultaneously often showing sympathy to those who participate in catfishing depending upon their individual circumstances.

Through looking at other examples — either fictional or non-fictional — try to determine whether popular culture depicts this as a severe violation, a minor problem, or somewhere in between.

If possible, make a comment about what this says about societal values.

Note: I have placed this in the Arts category, but it could potentially sit in the other media forms (like TV or Film) if they are most discussed.

Modernist texts are often heavily fragmented – the plot is jumbled and does not follow a simple beginning to end chronology. This can be off-putting for many readers as it can make a story hard to follow and less immersive.

However, what are the benefits and what does writing in fragments achieve? An article could look at a selection of texts that are fragmented and offer an analysis of what this particular structure is doing.

For example, in Kaddish for an Unborn Child by Imre Kertesz, the plot keeps circling back to the same line, its repetition representing the repetitive trauma it has caused the protagonist. Or, in The Corpse Washer by Sinan Antoon, the plot is broken up by page long chapters detailing the nightmares had by the protagonist which can show how they interject in his life just as they have interjected into the plot.
There are many works of literature that fragment the narrative and do so for thoughtful and strategic reasons. Thus, exploring texts that do this meaningfully could be an interesting read!

In many sitcoms, characters often suffer the consequences of job precariousness. This includes being underpaid, taking jobs they hate, or losing their jobs altogether.
Almost the entire cast of Friends, Jess from New Girl, Britta or Jeff from Community, or the Roses from Schitt's Creek are just some examples.

An article looking at how these scenarios play out in T.V. could be an insightful read. Are they accurate depictions of real life, or do they diminish the real-world anxiety of this aspect of life? Is it enough to simply allude to homelessness or not being able to make rent, or should a show force its characters to endure this? You could offer a comparison of shows that do this well and shows that, perhaps, do not do this so well.

You could offer an assessment regarding the impact this has on viewers, and contextualise the shows within both their setting and time of release.

For many sitcoms, including applause and laughter after every punchline is something of a staple. Laugh tracks, or 'canned laughter,' have been used in comedic television programmes for decades. However, many shows are also filmed in front of a live studio audience to produce the same effect.
Evaluate the impact that filming before a live studio audience has on the programmes which use them. Moreover, how does this compare to the artificial laugh track? Is real laughter better than fake laughter? Or, are the criticisms ultimately the same? Such criticisms could include that the laughter is forced for unfunny jokes, it breaks the fourth wall, or it unsettles the timing of a show
When building an argument, specific examples of T.V. shows should be discussed. The writer should choose specific scenes to analyse in order to demonstrate how they have been directly impacted by the choice to film in front of a live audience, and how their reactionary noises are used within the show. Try to limit the amount of personal opinion here, and have your argument based solely upon the artistic criticism of the shows themselves.

The word Bildungsroman is often used interchangeably with the term coming-of-age when describing growth-oriented literature. However, they are not necessarily the same. A Bildungsroman text is one that focuses on the psychological growth of a character. It follows said character from youth to adulthood, especially as they find themselves in difficult situations. Coming-of-age, however, is more of a broad umbrella term for any story about growing up.

Through using one or more Bildungsroman and coming-of-age texts, the writer of this article could explore this difference. Some points to consider are the way a Bildungsroman is structured in four sections (loss, journey, conflict/growth, and maturity). Also, the way a Bildungsroman focuses on the entirety of youth, not just a small portion of it.

Conversely, the coming of age text chosen should be used to show the ways that it is different from a Bildungsroman (such as, for example, focusing on only a month or year of youth). An article explaining these differences, with examples, could be an informative and educational read.

A bottle episode refers to an episode of a T.V. show written to require only one or two sets, and only few non-regular cast members. These episodes are often the result of a dwindling production budget, or a pre-emptive cost-saving attempt.

Some people view these as lazy, but bottle episodes often make for great television.
An article on this could discuss specific examples of shows who have made successful bottle episodes, and how they have done so. Reasons could include great drama due to the restricted movement of characters. Or, many fan favourite bottle episodes are enjoyed because they showcase their characters in their truest form. The examples available are plenty, with famous shows like Friends, New Girl, or Community all having done them.

The writer of this article could also use poorly received bottle episodes as a contrast, so long as they discuss why they were not successful.

Look at the portrayal of women in Gothic literature. What tropes do they often fulfil?

There’s the shrieking heroine of The Monk or The Italian (written by Matthew Lewis and Ann Radcliffe respectively). Even modern day Twilight has this.
Bram Stoker’s Dracula shifted things by having Mina as the ‘new’ woman – the only reason she was respected is because she supposedly had the brain of a man. Even then, she was viewed as someone who needed protecting.
Even texts like Jekyll and Hyde make a statement about women’s place in society by simply NOT including women in the narrative.
Modern Gothic texts tend to favour the cool and powerful female protagonist, which in theory seems empowering, but can also be problematic.

What is the effect of each portrayal of women? Are the women in each given text empowered or powerless? Is historical/social context important in how the female characters are portrayed? Do any texts defy their time period? Is there a difference between texts written by men and texts written by women?
An article on this should analyse a wide variation of texts, from different time periods.

Young adult fiction (YA) is immensely popular today, for both teenagers and adults. But the category itself is only very young. S.E. Hinton's 1967 novel, The Outsiders, is popularly considered the first ever work of YA fiction.

So, what precedent did this novel set for the rest of this category of fiction? What aspects of Hinton's novel are now staples in YA?

An example is the discussion of weighted and important topics in a manner that is consumable by teenagers (The Outsiders discusses the harsh realities of every day class divisions). Or, like many YA books nowadays, Hinton's protagonist is characterised as an outcast, or 'special' (he even has an unusual name, Ponyboy, something many other YA protagonists have).

Discussing a few YA texts that share similarities with The Outsiders will help to show the aspects of the original text that have become commonplace in the young adult category.

I propose an article that looks at novellas. The article could describe first what they are, explaining the length and conventions, explore how they differ from both a novel and a short story.

It could be worth looking into the history of this medium, when were they most popular and why? What were the first texts classified as novellas and what purposes did they serve? Perhaps offer suggestion as to why they are not big in the literary scene today.
Then, the article could offer analysis of some famous novellas, The Metamorphosis, Heart of Darkness, Jekyll and Hyde, Of Mice and Men, just to name a few.
Offer suggestion as to why these in particular were popular, was it their content? Context? Were their authors already published writers so fans would read anything of theirs?

If so desired, contrast the good by offering examples of novellas that are perceived as not good and offer reasons as to why. Are they not given the space to be fully developed? Does its brevity mean it is missing something?

Use this analysis to draw conclusions regarding the novella's place in literature including, if possible, whether this medium is likely to regain popularity or merely survive as a medium at all.

Life writing (memoirs, essays, autobiographies and biographies, auto-theory, etc.) is inherently personal in nature. These writings focus on personal stories that can be confronting for the reader to read, AND for the writer to write. They intend to communicate some form of personal, human truth.

But what role does narrative distance play in these works? Does life writing have to be first-person perspective that recounts events exactly as they transpired? Or, can a writer distance themselves from the writing and still achieve the same intimacy of life writing?

A range of texts could be discussed here; texts that approach life writing very differently.

Some examples could include clear-cut autobiographies written in the first-person (of which there are many), or works of fiction where a made-up character represents a real person (semi-autobiographical works, like Jane Eyre or Frost in May). A more out-there example could be cook books — these often express personal stories under the guise of recipes. Travel writing, too, can often be an inadvertent style of writing about the self whilst maintaining some narrative distance.

Video games that require or encourage violence are prolific. There have been countless studies on whether the violence of such games has psychological impacts.
But, what are the moral implications?

Using a selection of games that involve violence, consider whether it is morally wrong to 'physically' harm a virtual character. Explain why.

You could argue either side of this argument, or argue that the moral implications differ depending on the situation. For example, perhaps some forms of violence are more acceptable than others (e.g. fighting vs. murder). Or, maybe there's a difference between harm the game tells you to inflict to complete an objective, and the harm you choose to inflict but has no bearing on your completion of the game.

Ensure sound justifications are provided for whichever stance you take. Relevant philosophical discussion would complement this topic well.

In 1977, Professor Roland Barthes released his book 'A Lover's Discourse: Fragments'.
Over 200 pages long, this text is dense, lengthy, and at times incoherent.
Therefore, an article deconstructing and analysing this text would be an insightful read.
What is Barthes trying to say? How does he say it? Are his ideas accepted and approved of, or disagreed with?

One point he seems to be making is that our own experiences of love are dictated to us by the discourse of love within our culture. It is through this language that our expectations of what love should feel like are formed.

Therefore, after breaking down Barthes' text and some key fragments/ideas, this article could look into examples of popular culture and how they have influenced modern ideas of love. The romance genre in film, tv, literature, and even music are prevalent. Everything from Shakespeare's plays to Romantic Comedies to Disney movies.

If, indeed, you deduce other claims worth discussing in the text, find popular or contemporary examples to suit that also!

In 1796, Matthew Lewis published the novel 'The Monk'. An early example of 'masculine', or horror gothic, it covers many shocking and depraved themes.
In 1797, Ann Radcliffe published her 'feminine', or terror gothic novel, 'The Italian'. It is viewed as a reaction or response to Lewis' novel. It discusses some similar themes, but in a milder way.
An article could compare and contrast these texts. Worth noting is the things they do the same, such as offering commentary on Catholicism or exploring issues of love and sexuality.
They also differ in several ways, from opposing treatments of women and the use of supernatural occurrences.
Overall, the article should conclude the ways in which Radcliffe has used the original to build her own story, and also where she has deliberately chosen to deviate from Lewis' text. Potentially offer insight into how the two authors' differing approaches reflect the society at the time. An in depth understanding of horror vs. terror gothic would be worthwhile in building a substantial argument.

In almost every 'which is better, book or movie?' debate, the book wins. For a plethora of reasons, from intense detail to unique character-building, books are almost always dubbed better than their adaptations.

But what about the film adaptations that are better than their original book?
Offer several examples of adaptations better than their original. Discuss what they do so correctly that allows them to win this battle.

Do they take away the difficult language of a book to make an important story more accessible? Are the characters better rounded and more realistic? Does the film cut out unnecessary details that are included in the book? Is there a changed detail that improves a film — different setting, different main character, different conclusion, perhaps. Is it simply a case of visuals portraying the content better than words can (say, an intense action sequence for example).

There could be ANY number of reasons and ANY number of films to be discussed.
This topic does run the risk of coming across as too subjective though, so ensure that sound analysis is offered to justify your claims.

Writers of history usually receive the bad reputation of being boring and uninspired storytellers, for the events of history aren't designed to be page-turners. On the other hand, there are histories that embellish for the sake of storytelling but compromise accuracy. This is also criticised.

Thus, an article exploring histories that are both accurate and educational whilst still captivating audiences would be a great read.

Offer examples of good histories, and give reasons as to why they are effective as both works of popular literature AND educational history resources. Jung Chang's Wild Swans or Ten Days That Shook The World by John Reed are two good examples.
Some factors that make history writing 'good' include: the inclusion of personal stories (not mere objective facts), prose that is accessible to all, not just academics, and the formation of a chronological narrative that, while remaining accurate, sparks interest and excitement.

There are some wonderful examples of written history that tend to get lost amongst the 'boring' stuff. So an article highlighting examples of good history, and analysing why that is, would be interesting and perhaps even helpful for those looking to write public history.

I've been watching That 70s Show recently and noticed that their small town has a bad reputation, the after-graduation goal is to get out of the dead-end town. 'Being someone' means moving away from home. Then, I got to thinking, there are elements of this thinking in many other shows I have seen, Daria, Gilmore Girls, Community.
Is this prolific enough in TV shows to be considered a trend? Is there reason for this? Does the same 'I need to get away from here' thinking occur in characters born and raised in the city? Is this specific to American TV shows, or other countries' shows too? Perhaps an article on this topic could offer a suggestion as to why the city is so romanticised?

It's no secret that film viewers often cherish the extra content attached to films. Deleted scenes, gag reels, director/actor commentary, behind the scenes footage generally.
But, why is that? An article could look at various aspects of this.
Do passionate fans just crave as much content as possible? Do film-buffs take a genuine interest in how their favourite media comes to be? Is it a learning tool? Is it a curiosity – perhaps, a curiosity to see how the people behind the serious-faced characters interact with one another? If a film is made to entertain by creating a (usually) fictitious world or story-line, then why are viewers so obsessed with this 'real-world' aspect of them?
On the other side – what do film makers gain from this? Why do they include the extra content they choose to?
This desire for extra content is evident in films like Shrek 2 where they animated an entire American Idol spoof with the characters. Or, the creators of Monsters Inc. animating various blooper scenes. Perhaps examples like this could be discussed.
This could also work for TV shows, if so preferred.

The simplest definition of 'art' is "the expression or application of human creative skill and imagination, typically in a visual form." Given this definition, could fashion be labelled an art form? We dismiss clothing as an everyday aspect of life, but it may actually be inherently artistic.
An article on this topic could look at designers, both big and small. Look at the creative process and discuss how clothing is designed. Think of what needs to be considered, colour, shape, material. These are also considered in other art forms, like sculptures or paintings.
The article could also look to how people choose to dress. Is this, in and of itself, a kind of art? Is it a type of artistic expression?
Painters or photographers create websites and Instagram pages to show off their creations. People in fashion also do the same. This is a niche you could explore when highlighting parallels between fashion and other art forms.
The fast fashion industry is often criticised for ripping off other brands or designers. This might suggest a personal aspect to the creation of fashion. Just like you would not copy someone else's painting for profit, should designers not be copying other people's fashion designs?
Finally, as with art, in the fashion industry there is a hierarchy of what is considered 'good' and 'bad'. Like art, fashion is constantly subjectively judged. This is another parallel which can be explored.
Ultimately an article on this topic should draw a conclusion, is fashion an art form or is it not? It should provide evidence throughout to support which conclusion is drawn. There are a plethora of angles this topic could explore.

Friends, That 70s Show, Community, The Office, Modern Family, the list spans kilometres. These kinds of ensemble tv shows, where rather than being just one main character, the focus is on a main group of characters, are incredibly popular today.
Investigate WHY that is. Is it something to do with the kind of show – many shows with ensemble casts are comedy or sit-com? Can viewers better find someone to relate to within a group, rather than with a designated sole protagonist? Does it open more expansive avenues for story-telling, when the focus is on six different people as opposed to just one? Does this keep viewers more invested, less bored? Is it the relationship aspect that draws viewers in? Do they enjoy feeling part of the on-screen group's little family? Arguably, within a group, characters can afford to be more flawed as they have their peers to keep them in check, does this make for more relatable characters? Or is it the opposite, do these shows create caricatures (the smart one, the funny one, etc.) and is that why people enjoy it?

This article should offer specific examples of TV shows and what it is about them that people enjoyed.

There is something about this TV show formula that just works, and an article offering an answer to 'why?' could be very interesting and insightful.