An article judging what films currently at cinemas or soon to be released could be up for next year's Oscars. Clearly this could be subjective based upon writer's choice.
This is an interesting topic but it's maybe a little too early for that?
It is hard to judge which film should/could be next year's Oscars when only 1/4 of the films in 2015 have been released...
It would be fun to try and come up with a list of unusual films that should be considered for the next Oscars though, films that are usually never even evoked in the first place and are often independent and not 'mainstream' productions but are beautifully crafted. – Rachel Elfassy Bitoun10 years ago
Not scored after the fact, nor about music. But movies in which a movies narrative was born from a song or music.
The two first ones I can think of: Sean Penn's the Indian Runner which was based on a Bruce Springsteen song. And Bernard Rose's Immortal Beloved from Beethoven.
Three other suggestions… – Paul Thomas Anderson wrote the script for Magnolia (1999) based on a few songs from Aimée Mann… – In a more distant way, David Lynch's Blue Velvet (1986). – And in an even more distant way John Ford's She Wore a Yellow Ribbon (1949).
It seems like you're not thinking along the lines of musicals, so I'm not sure if this will be relevant, but, as everyone knows, the plot and characters in Across the Universe (2007) are derived entirely from Beatles songs. Same with Mamma Mia and ABBA. – Felicia10 years ago
The film "Amadeus" based on Mozart's music – Amena Banu10 years ago
The aim of this article is to come to a conclusion about whether a particularly graphic or violent horror films affect modern society through desensitization.
If you're writing this subject matter, I highly recommend checking out the history of A Clockwork Orange. Kubrick was harassed and abused by the media for the rest of his life after this one because of the number of young people who claimed inspiration from his film, which they wrongly interpreted. White power critics called Kubrick a creator of "crank" culture in Britain and America and stalked him the rest of his life, largely inspiring Eyes Wide Shut. A Clockwork Orange had nothing at all in it that would obligate viewers to follow him, and criticisms like this, even with criminal confessions of being inspired by Kubrick, when held up to scrutiny, largely demonstrate the same pattern of violent outbreak and public panic that groundbreaking filmmakers like Orson Welles, Alfred Hitchcock, Martin Scorsese, and Quentin Tarantino supposedly "inspired." All of these filmmakers are considered legendery, especially Kubrick, despite "inspiring" some of the most publicized violence and criminality associated with its misinterpretation; and you can backtrack all of those claims and find stories associated with each filmmaker like this.
Read Stephen King's short but sweet article "Why We Crave Horror Movies". He explores this topic in a historical and funny way. – Liz Watkins10 years ago
With the recent release of Disney's live animated feature of Cinderella, it has been receiving much backlash for its portrayal of Cinderella as someone who needs a man to save her or a girl who has such a tiny waist that it can't be humanly matched. I would love to explore how despite all these comments, that in some way may make sense, the idea of Cinderella as it has always been, is to make our a lives a little bit happier and magical. In a sense, I understand, that I may never meet a prince who forces the whole kingdom to search for me or a have a fairy godmother, but the point is that we should just be able to enjoy a nice movie about pure love that opens a door to wonders and imagination.
As much as I think it's incredibly important for little girls to have movies like Frozen, where there are female characters who aren't primarily concerned with finding a man, I think it's also ok for there to be romance in films, especially if it's based on a classic fairytale! Fairytales always have a romance! As long as the romance is healthy in the story, and as long as there are other films for young girls that include independent female role models, I don't see any problem in there being a man involved. I think drawing attention to this and acknowledging we can still appreciate Cinderella is a great idea. – Felicia10 years ago
It is important to remember that it is just a show. I do understand what critics are trying to elude to but it is also important not to take away that innocence and hope from children. I think this article will be good if it is written from the sense that your childhood is meant to be a fairytale filled with dreams. – Lala10 years ago
The Academy Award winning "Birdman" stars many actors primarily known for their comedic roles. Looking at other films (Jim Carey in "Eternal Sunshine of the Spotless Mind," Steve Carell in "Foxcatcher," and many more) it shows that this transition is not so rare. This article would explore such casting choices and the transition between comedic and dramatic acting. Is it easier to transition from comedy to drama, are there any examples of the inverse? This could also take a list format to rank such performances while addressing some of these questions.
Robin Williams is also worth mentioning for Good Will Hunting, The Fisher King, and Good Morning Vietnam. – Cagney10 years ago
I have always had problems with Ed Wood. Martin Landau gives a truly great performance as Bela Lugosi (he deserved the Academy Award for Best Supporting Actor), and he’s really given a great character to play. It’s one of the most moving and effective portrayals I’ve ever seen of a real person—a great portrait of a man haunted by lost fame. Unfortunately, I never really cared about anyone else in the movie. I always felt that Bela Lugosi should’ve been the protagonist and Ed Wood should’ve been a supporting character. Wood is certainly colorful, but he’s just not interesting enough to carry an entire movie, in my opinion. The portrayal is so over-the-top camp that I always felt emotionally distant from him. This would’ve worked fine as a supporting character in a movie about Lugosi, but not when he’s supposed to be the lead. As soon as Lugosi died, I pretty much lost all interest in the movie, and started paying more attention to the production design, costume design, and makeup and hairstyling (all of which are pitch-perfect) than to the story. I think it could’ve been a great movie with some rewrites to focus it on Lugosi, but as is, I think it’s a mediocre film with one truly great character.
Other titles that come to mind are The Lord of the Rings (1978) and Superman IV.
I think it would be important to note what exactly feels unfinished. Is it the narrative structure is the production design? Some other films may be really strong in one area and lack in others. – Cagney10 years ago
Analyze why Cinderella and her vulnerability is so appealing to audiences for the past sixty years with looks at the Disney and Rodgers and Hammerstein films, with a discussion on the Strong Female Character and how Cinderella's quiet resolve in the new adaptation subverts our expectation of female heroism.
Really interesting topic. I think I would include a section on the literary appeal of Cinderella, from the first tale and its different adaptations the various uses of Cinderella's myth and character in contemporary literature, as a sort of literary framework. Everyone knows the tale - what connotations authors and filmmakers expect us to get from using Cinderella's myth? Think about how Angela Carter plays with well-known fairy tales. Could also reflect on how elements of the myth have changed and why - why did the shoe become glass (Disney perpetuated that idea) ? why can we only portray Cinderella's shoe as made of glass ever since? Bringing Into the Woods in it would also be interesting. In regards to female heroism, maybe this can be linked to other fairy tales? – Rachel Elfassy Bitoun10 years ago
Listing films that have the most spectacular miniature pyrotechnics (I.e. model buildings, boats, airplanes or what have you bursting into flames and/or a thousand pieces).
For starters:
One of the best is the tanker explosion at the end of 'The Terminator' (1984).
The destruction of Corfu harbour in 'For Your Eyes Only'. It fits in beautifully with the one shot of the lovely Martin Grace (doubling Roger Moore) gettting blown over by the blast.
The plane into Las Vegas in 'Con Air'.
The plane crash landing in 'Cliffhanger'.
The Guns of Navarone ending.
The endings to 'Thunderbirds Are Go' and 'Thunderbird 6'.
The destruction of the tracking station in 'Goldeneye'.
The police station in 'Hot Fuzz'.
In what sense would you analyse pyrotechnics in film? What would the analysis say about the use of pyrotechnics adding to a film's narrative? – Ryan Errington10 years ago
Ryan is correct in saying that special effects don't have a lot to offer in terms of deep, meaningful insights into human nature, but you can certainly broaden this topic and make it into a retrospective about the history of special effects. You could talk about the major films that contributed to the advancement of movie magic (e.g. 2001: A Space Odyssey and Star Wars for practical effects and Avatar for CGI). You could also discuss how some filmmakers, like Christopher Nolan and Quentin Tarantino, make it a habit to use as many real effects as possible, and only employ CGI if it's absolutely necessary, which could very well lead to the topic of Practical FX vs. CGI. In essence, your topic, as it is, is too broad and lacks depth. But if you, or whoever wants to tackle this piece, finds the time to do a little research, this could very well be a fascinating look into the history of special effects. – August Merz10 years ago
