Sound (or lack thereof) plays an important role in Lost in Translation. From the opening moments with Bob Harris (Bill Murray) filming a commercial in Japanese to the jazz singer in the bar to the culmination of the film with the muted exchange between Bob Harris and Charlotte (Scarlett Johhansson). Analyze the various ways in which sound and silence function in the film.
This would likely require at least 5 scene-by-scene analysis to prove significance. You could also check screenwriting patterns and indicate whether sound and silence specifically navigate through the plot points. – hazalse5 years ago
When people think of the Marvel Cinematic Universe that has reigned supreme in the box office for more than a decade, they either think of Iron Man or Captain America, and Captain America: Civil War, pins the two leaders over… politics, essentially. Politics on a cosmic scale, but politics nonetheless. Steve Rogers, being the uncompromising freedom fighter that he is, stands against the Sokovia Accords backed by Tony Stark. Both have their reasons, and the situation is never exactly resolved since the movie diverts the plot to Bucky's escape.
Back to reality today in the United States, where there are small, yet scattered, protests all across the country over state-issued stay-at-home orders due to the COVID-19 pandemic. There have been several points of controversy that have sparked the protests: claims that hospitals and institutions are skewing COVID-related death numbers, governments are stripping citizens of their rights and keeping them "detained" in their homes, etc.. Overall, there seems to be a disconnect between some people and institutions such as the World Health Organization, the CDC, the UN, etc.
Does Captain America: Civil War, embody that conflict? It's not new at all, but has the film and/or superhero blockbusters in general inspired movements such as these, believing in global government conspiracies that plan for world domination? Does Captain America, specifically, embody/inspire people to not compromise what they feel is right? Final note: I decided to focus on the movie rather than the comics because the MCU is an international phenomenon, raking in billions at the box office. As a result, I assume these films have been much more prevalent in the global, cultural "psyche" than the comics.
I think that is an interesting way to look at it. It boils down to exactly what you said, "Captain America is a freedom fighter," and that is what is at stake here. Americans freedom to choose where they go and when. Ultimately, it is now up to state governments to handle the issue going forward and it does not seem like Steve Rodgers would approve of their tactics. – sweathers4 years ago
This seems like an odd connection. Is the gist: Do certain Marvel Universe movies have a relationship to how the public responds to COVID-19? – Joseph Cernik4 years ago
Analyze the use of unique everyday elements in Emma (2020). The director added unique aspects by adding "butt-warming" by the fire, being dressed by servants, and nosebleeds and inoportune times. These little moments are unique for an Austen film and are a great way to update the story.
I think that they add a more human feel to the film. Period pieces sometimes feel a little bit distant, because of the mannerisms that we don't identify with and the elements we have to work harder to understand. This new adaptation of Emma helped the audience see through the perfect facade that period pieces often portray, with the little things that normally go behind the scenes. – aclmohle4 years ago
In the 1993 film Groundhog's Day, Bill Murray's character Phil Connors became trapped in an ever-repeating time loop, reliving the same events of a single day in a small Pennsylvanian town. But how long was Phil actually trapped? How many days, months, and years transpired as he became a villain, suicidal, and ultimately the (problematic) hero and broke free?
Does waking up next to Rita the next morning completely void their relationship because of his intimate knowledge of her due to his repetitive cycle of cheating his way into her heart? Oh, yeah, and let's talk about why.
I feel that the writer should focus on the psychological aspects and the camus-ian aspects of this film. The spiritual undertones of this film would also be interesting to explore. – Lukasalive4 years ago
This seems to be one of those movies that reappears often with someone looking at from a new angle. Perhaps focusing on how the movie is seen differently, years after it was first released can be the point of an essay. – Joseph Cernik4 years ago
In this age of “-isms” (feminism, racism, ableism, ageism, etc.) there are many critiques—and rightly so. However, while we may see more diversity, are our media (TV, movies, books, games, etc.) actually more diverse in their appreciation of these groups? For example, does merely fulfilling the Bechdel test actually make a movie feminist? Or, does having non-white actors in minor roles, or acting “White,” add racial diversity? Is the miraculous ability to heal disabled characters truly inclusive? These are only a few questions that you could touch upon. There are a lot of different facets of this argument, but I am curious about what diversity means, and when media can be considered “successfully diverse”? I've tagged this as "film," but it is widely applicable across media.
I think this topic would need to focus more on the production of these works and the works' underlying messages. I think something that can be a good point of inspiration is Jay Z's "Moonlight" music video. In the video, a guy is filming an all-black cast remake of the TV show "Friends." When he asks his friend what he thinks, his friend thinks it's terrible despite the guy's assumptions that an all-black cast would subvert expectations and ideologies. I think it'd be important to find some notable examples throughout decades of what would be considered diverse and not diverse. In Terminator 2, what makes Sarah Conner an icon of feminism for some? Is it because she's shown to be tough as nails while also being a protective mother? Does Charles Xavier having superpowers diminish his status as a symbol for perseverance in a society that would often look down or pity a paraplegic? Just some examples, but that's how I feel the argument should be narrowed down to. To tackle one -ism instead of all of them. – Daniel Ibarra4 years ago
From Star Wars and Star Trek to movies like Dune, there has always been either establishment affirming or anti-establishment views within these films. It would be interesting to compare and contrast science fiction films throughout the ages and how they take a look at the societies we grew up in within a detached viewpoint and how it has affected our own view on politics and ourselves.
Another film to look at would be Blade Runner. There are issues about free will, power and slavery. It is also interesting because Deckard is part of the political machine, enforcing the status-quo about how Replicants should be act and what the consequences are. – Sean Gadus4 years ago
I know, although a web search would be needed, that both actors and directors have talked about political issues they could address in science fiction movies, that were acceptable to be addressed, but they could not do, or were reluctant to address in a movie about life on earth. – Joseph Cernik4 years ago
I propose an article examining Hollywood's depiction of Asian American characters in the early years of American film. Such portrayals have long been a subject of controversy because they have frequently dealt with stereotypes rather than authentic representations of Asian culture.
Just watched Josef von Sternberg's Shanghai Express (1932); worth looking into regarding this subject. I never caught anything overtly racist but there are definitely moments that one might consider insensitive today. The culture and "political correctness" of the time period is always something to keep in mind. – dbotros4 years ago
Good topic, but I think there's an important distinction that must be made between "Asian Americans in films" and "representations of Asian Americans in films." The former would ideally refer to the ethnicity and/or cultural heritage of the actors who appear in the films (regardless of what type of character they are portraying), whereas the latter refers to the ways in which characters of that ethnic/cultural background are presented (regardless of the identity of the actor portraying that role). While these often go hand-in-hand, particularly in the former case, it is often the instances in which they do not coincide when controversies are more likely to arise. Surely there's a difference between someone like Anna May Wong needing to conform herself to Americans audiences' preconceived notions and stereotypes about Asian culture in order to ensure steady employment for herself, versus something like Mickey Rooney infamously donning yellowface to play Mr. Yunioshi in Breakfast at Tiffany's. Just some food for thought. – ProtoCanon4 years ago
A good idea, begin with Charlie Chan. – Joseph Cernik4 years ago
Although B-movies have been around since the early years of cinema, they've taken on different connotations with audiences over the decades, even becoming their own respected genre. One might argue that Val Lewton, a writer-producer who worked in the 1940s-50s, is the tipping point in low budget horror. Films like Cat People (1942) and its sequel The Curse of the Cat People (1944) took financial restrictions and turned them into an advantage. Their use of sound is particularly effective in creating a psychologically disturbing atmosphere. Instead of the make-up and costume blockbusters that profited Universal (Dracula, Frankenstein, and their respective franchises), Lewton and director Jacques Tourner reinvented the genre. Use Lewton's work as the fulcrum to describe how B-horror came to be a modern-day cult favourite.
