Recent News has been read stating the James Cameron has just finished the final script for Avatar five which means production can now start for Avatar Two followed by Avatar Three, Four and five. Do you think that this move was a good or a bad idea, Has he set the franchise up for failure with an eight year absence.
You could also explore why exactly this model was chosen for production and discuss any other directors that did this and how it worked out for them. – JakeV8 years ago
I like the pun in your title. I wonder if anyone has seen 'A Man Called Horse' (1970) directed by Elliot Silverstein and starring Richard Harris (yes, the same Richard Harris who played the original Dumbledore in HP)? A definite influence on the first Avatar storyline, in my opinion. – Amyus7 years ago
I enjoyed Avatar, but the gap between films has been way too long. People have moved on. Though I would still see the film, I wouldn't rush out on release day, and I'm not sure how well the movies would do at the box office (compared to the original). In addition to this, the original was the first to implement the 3D technology which has now become commonplace.
Also, it might be important to mention that the film was a self-contained story, so many people might feel there was no need for the story to continue, which could hurt the sequels chances. – AGMacdonald7 years ago
It's been such a long time since the original...what is the point? It is likely at best to engage a different audience. I remember enjoying the original, and would have watched sequels if they had been trotted out on a regular basis, but now I doubt if I could be bothered.
– JudyPeters7 years ago
The early silent films of Charlie Chaplin were masterpieces of entertainment. Yet, there was little to no soundtrack nor color. Even before that, audiences had to rely primarily on imagination in order to bring to life the voice-based scripts of radio. Since those initial attempts at conveying plot, a riveting account of history can be equally transformed by song and choreography, such as in Evita (1996) starring Madonna. For this matter, explore the requirement of prop and effect in adding to the effectiveness or detracting from the quality of film or television.
Now this could make for a fascinating article indeed! Might I also suggest including other silent greats such as Buster Keaton, Harold Lloyd and similar? It would be also be worth mentioning the role that the accompanying pianist had in helping to create mood for these early cinematic audiences/viewers. With regard to voice based scripts on radio, I once worked with a chap who gave me a fascinating insight into some of the everyday 'found' objects that were used to add audio effects. I'll never look at a sink plunger in the same way again! The Foley artist is a valued and essential part of film making these days, especially when, in some instances, up to 90% of dialogue and sounds effects are recreated after the shoot has actually finished. Having done ADR (Additional Dialogue Recording) myself I can certainly attest to how tough it can be for the actor to recreate the mood and emotion, sometimes months later, of the original performance. Props can be a boon to any performer, if used well, but they can also be a right pain in the backside if poorly maintained and will detract from a performance. Every actor has his or her horror stories about props that seem to take on a life of their own. Thumbs up from me and good luck to he or she who takes on this subject. – Amyus7 years ago
Enter into a discussion about the identity of the villain in media and how this identity has changed and/or evolved over time. I think it would be interesting to take a sampling of different media over time (film, TV series, video games, literature) and analyze which group/people represent the "Bad Guy" in each and how that may correspond to the specific historical time period. Older Bond films often pit British intelligence against the Soviets – along with films such as Hunt for Red October – while many modern films concentrate themselves on Middle Eastern conflicts (i.e. London Has Fallen.) Does the bad guy always fall under a certain nation? Are directors forced to deal with the 'politically correct'?
Looking at the shift in villain identity in media over time could be an interesting read! Over my lifetime I've seen an apparent shift from villains as just wanting to destroy the world into a character we can relate with, however looking back to when film first came out, it's easy to see that the villain was sometimes racialized as a form of propaganda. Bringing a variety of media into the discussion could be a difficult task and I wouldn't blame someone for narrowing that down. But who knows, maybe there's a direct correlation between when film came out in regards to literature or when video games came out in regards to film, that the new media type inspired a change in villain identity across the others? – Slaidey8 years ago
One could easily address this topic only using superhero films. Or even just one studio's superhero films. Or just one superhero's films. In particular I think of the richness of the Joker in his depiction of an enemy that thrives on conflict, without a past or real identity. – jackanapes8 years ago
From the unfortunate Stormtrooper who banged his head on a door in 'Star Wars – A New Hope' (1977), to the brave souls who survived the 'Helm's Deep', three months of night shoots in 'Lord of The Rings. The Two Towers' (2002), the Support Actor or Extra is a vital element of film making, but often overlooked by the cinema going public. These days 'extras' are big business, with a myriad of agencies offering almost any size, shape and range of looks that any production may require. Yet it's not often that these loyal and hard working bodies even receive an end titles credit. The British sitcom 'Extras' (2005-2007), attempted the redress the balance, but still focused on the improbable rise to fame of the lead character. Perhaps it's time that our unsung heroes of film and television were recognised and rewarded for their professional skills and dedication to the art. An Oscar or similar for 'Best Featured Extra' perhaps?
I can't wait to see what you do with this topic. :) – Stephanie M.7 years ago
I'm tempted, Stephanie, but I fear that as an insider my views would be biased. I've had a few minor roles where lines were cut so I didn't get the eagerly anticipated credit, but I continue to slog on regardless. So, I put this topic forward to see if an interested yet unconnected party might like to delve into the fascinating world of the Extra. Ahh, we are such stuff as dreams are made on....and 10 points to anyone who can complete the quote! :) – Amyus7 years ago
Teaching the Bible in any context, especially the classroom, is tricky. Teachers and professors have to be careful not to present the text in a devotional context, because not everyone is a devotee. However, the Bible is also a rich literary work; excerpts from it appear in many curriculums, especially World Literature textbooks. With this in mind, discuss the best way to teach the Bible as literature. For example, could certain parts of the Bible be paired with different classics (the story of David and Bathsheba Romeo and Juliet, excerpts from Revelation a time-honored apocalyptic or dystopian novel)? What would be your chosen pairings? Are there any parts you'd want to stay away from, or parts that lend themselves to literary teaching better than others?
Eschatology, the study of end times, as related to the dystopian future could be useful here. – Munjeera7 years ago
Thanks. I hope somebody writes this. I would, but as a Christian and religion/philosophy major, I'm probably too biased toward certain POVs. – Stephanie M.7 years ago
An overwhelming amount of critical literature has been produced on this subject; just type "bible as literature" (preferably with quotation marks retained) into a good library catalogue, and you'll find no lack of research materials. Though only a drop in the vast pool, one of the major influential writers on this subject (to my knowledge) is Northrop Frye. He'd probably be the best place to start for a novice. Also, a useful narratological concept which may be applied is Gérard Genette's "conditional fictionality" (see Fiction & Diction, p.24), which he proposes as a means of evaluating narratives which can be seen as "a true story for some and a fiction for others"; he goes on to cite mythology -- irrelevant to whether referring to the polytheism of antiquity or the monotheism of today -- as a prime example of this category, saying "one may accept a religious narrative as being both truthful and literary, in which case its literariness owes nothing at all to fictionality." Hope this helps. – ProtoCanon7 years ago
With the continued success of anthology series like Fargo, American Crime Story and many more, do TV shows have more of a chance if they remain with the same formula that found them success? Or by changing the cast and locale and telling a similar story once more. This could be particularly interesting with the re-emergence of True Detective after a couple of years. Would it have had its season 3 much earlier if it remained with Rust and Marty?
I think this may not be as extended a discussion as you would like, perhaps reconsider the wording of what you really want to examine. The issue is that formulaic TV is a norm, an accepted format that most TV is structured on - it is either considered serialised or procedural - this means it is either like Fargo, where it is has one long running story arc (serialised) or it is like NCIS where there is a clear formula to every episode (procedural). Perhaps have a listen to the Nerdist Writer's podcast to consider more fully the manner in which TV is written.
The second question you have raised considering the use of ongoing characters versus the break from original characters, such in the Fargo and True Detective series, could actually be a more interesting discussion as this is a contentious area. – SaraiMW7 years ago
Get out capitalized on an old formula of using exaggerated horror to commentate on pressing social issues in the vein of Invasion of the Body Snatchers or Rosemary's Baby. Do you think that it will usher in a new era of horror more concerned with having a greater social commentary?
In art school I met George Romero and Tom Savini at a Pittsburgh arts show con thing. I alas liked Romero's italian Roman satire take in the fact that his zombies were as he said to us then, a reflection on American consumerism and brain dead watchers of the vast wasteland. That idea of his, has become a gore fest making the sopranos look like king lear, and a study in the arts of make up. What do you think...? – Antonius8657 years ago
What makes two people (usually a man and a woman) compatible in an action movie? How do these moments get interspersed with action? What's the difference between a Bond seduction and a Tron flirtation? Why is The Matrix my favorite romance series? Are there harmful stereotypes, is there empowerment of female characters? Does kink gloss over unhealthy habits? Much to discuss!
Interesting connection here. Good examples too. – Munjeera8 years ago
Good choice for favorite romance series – Linden8 years ago
An interesting perspective. Looking forward to seeing what someone does with it. – AGMacdonald7 years ago
Interesting contrast could be Bond-Bourne too, as the recent Bonds are so similar to Bourne but Bond still does the whole romancey thing, where Bourne largely leaves it alone. – Marcus Dean7 years ago
As in raiders of the lost ark, the best girlfriends have a what i call the Suzanne Phleshette rule, they must be cute, but not fragile. – Antonius8657 years ago
Too many questions with very few points of connection. Almost nothing concrete to work with. – T. Palomino2 years ago
How do films and television shows utilize blood and gore in artistic ways to further the plot and to create a visceral reaction without going overboard. Where is the "sweet-spot" of horror and is it the gestalt of the production that makes it palatable?
Looking back to Peter Greenaway's "The Cook the Thief, His Wife and Her Lover," the use of dynamic lighting, opulent costumes, and luxurious set draw the audience in while opening up all of the senses. It is as if you can taste, touch and smell this film. This, juxtaposition with filth and violence that follows creates a more dramatic sensory shift thus intensifying the horror of the film.
Currently, "Penny Dreadful" utilizes some of the same production values to appeal to the senses of the audience before flooding ballrooms with blood.
What are other examples of transcendent use of blood and gore and how are directors achieving high levels or artistry within horror.
examining the horror media in early 20th century and others could be useful. Also, the essays from horror writers like H.P Lovecraft or Stephen King could help – idleric7 years ago
Julia Kristeva's theory of abjection is a difficult one to grasp but is exactly right for this topic. – JudyPeters7 years ago
A mash-up novel (also called mashup or mashed-up novel), is a work of fiction which combines the text from pre-existing literature, often a classic work of fiction, with another genre, such as horror, into a single mashed-up narrative. Though the term itself wasn't coined till about 2009, the first mash-up (of sorts) may have been "Move Under Ground" by Nick Mamatas, a 2004 novel combining the Beat style of Jack Kerouac with the cosmic horror of H. P. Lovecraft's Cthulhu Mythos. The first mash-up proper was Seth Grahame-Smith's hugely successful 2009 novel, "Pride and Prejudice and Zombies". Subsequent mash-up novels include "Sense and Sensibility and Seamonsters", "Little Women and Werewolves" and "Abraham Lincoln, Vampire Hunter" (also by Grahame-Smith), the last of which was adapted into a film of the same name. A more recent phenomenon within the genre is the combination of more than two original works, or genres, as in the case of Robinson Crusoe (The Eerie Adventures of the Lycanthrope), which combines the original novel with elements borrowed from the works of H.P. Lovecraft as well as the popular genre of werewolf fiction, and is accordingly attributed to three authors – Daniel Defoe, H.P. Lovecraft, and Peter Clines. Mash-up novels are, by their very nature, derivative and lacking in creative substance … or am I being hypercritical? Is it all just a cheap marketing gimmick that's doomed to die from lack of originality… or does the mash-up have potential creative legs to keep it running?
You knocked the nail on the head with this one. Often these books will coast along on the popularity of the source material and come off as a gimmick. – AGMacdonald7 years ago
I hope it isn't dying out! Maybe a more judicious choice of original source material could be considered - I think Jane Austen has been done to 'death', pardon the pun. – JudyPeters7 years ago
Difficult question. We will have to analyze specific titles and see how they work and what they achieve. But in general, these kinds of literary projects are just pop culture phenomena, and are not meant to last or become canon. – T. Palomino2 years ago
The Shadowhunters TV show has proved to be good at mixing the plot of the novel with new plots. Discuss the ways in which the show has been dedicated to its origin while also exploring new alleyways and the ways in which fan reactions have gone.
A good way to do this would be to break down some main characters and their traits in order to draw comparisons to the books. – Southy5677 years ago
I agree with Southy567's point. A list of the main characters and their deviations would be a good starting point (major one could be the death of Clary's mother)! Depending on the length, the main events (battles, wedding) that have deviated could also be included. – AbbyMay7 years ago
Which anime series or films have been successful at accurately portraying characters who are gay, lesbian, bisexual, transgender, or part of any group in the LGBTQ community? Which ones have failed? Give multiple examples and explain why.
I think this is a great topic, although, it would probably have to be almost exclusively focused on the "failure" end of the spectrum. Aside from a few major exceptions (Yuri on Ice, the Kaze to Ki no Uta OVA), a lot of anime either hasn't done a great job in portraying LGBTQ characters or, notably, have just avoided the topic altogether. Manga is certainly more inclusive in that respect. – tjtheemperor7 years ago
It's a great idea but the problem is that LGBT doesn't usually get much visibility IRL in Japan let alone any explicit recognition in anime and manga. Yaoi and yuri aside, I feel that in order for inclusion of any LGBT characters into mainstream anime/ manga, they usually have to be a) not-explicitly stated as LGBT or b) be ridiculously misrepresented. – Hann7 years ago
I plan to submit my paper to this topic! – nbenn0577 years ago
Most people who grew up in the late 1980s through the 1990s fondly remember Nickelodeon. The shows produced in this era were part of the network's Golden Age, and fans' appreciation has led Nick to bring some of them back. Two popular Nick shows, Hey Arnold and Legend of the Hidden Temple, are coming back in the near future. However, Hey Arnold is coming back as a live-action film. Legends will take the form of a TV movie whose adventurous plot is somewhat loosely based on the original game show. Will these format changes wreck what fans loved about these shows, or will they bring fresh perspectives to the table? Discuss the advantages and disadvantages of these format changes.
I didn't even know these were happening! Remakes/reboots are such a big thing nowadays, so I like how this topic is very focused on a specific aspect of the nostalgia-movement. The emphasis on the formats would also create an easy way for the writer to stay analytical rather than it devolving into an opinion-based rant or hype train. – DrNinjaBaljeet7 years ago
With recent repacking and re-releases of old titles, what are the most egregious examples of bringing out the same versions of games for that yankee dollar?
Final Fantasy X. I own that game four times over. First PS2 disc got scratched, so I bought another (nothing to do with corporate greed, but it explains the four); I bought the remaster on PS3 then a couple of years later got it again for ps4. – AGMacdonald7 years ago
Children's and young adult (YA) literature has exploded in recent decades, giving young people more reading options than ever. Additionally, young protagonists have more power than ever. Harry Potter is a wizard. Tris and Katniss from The Hunger Games are almost unstoppable heroines of dystopian societies. The Descendants protagonists are the magical offspring of Disney villains.
While these protagonists and their books are wonderful, they bring to mind a question: do today's protagonists always need powers, magical and supernatural connections, or the high stakes of dystopia? Put more succinctly, do they always have to be "the chosen ones?" What does fiction for young people gain by putting protagonists in that position? Does it lose anything by not focusing on more common kid/teen issues? Or, do we actually have a good balance between powerful and ordinary protagonists in our current literature? Discuss using the above examples and any others that fit the topic.
This is definitely an interesting concept. As a writer, I find it's less and less common for regular protagonists to make an appearance, especially in teen fiction. I'm in the midst of writing a book with an ordinary protagonist, and the biggest comments I've gotten back on the beginning of the book is that the protagonist is normal, and that he shouldn't be. We've gotten into a tradition of extraordinary protagonists, and I think it's important to bring back the ordinary kid protagonist. – LilyaRider7 years ago
I'm also a writer, and one of the things I constantly have to remind myself of is, it's ultimately my story. Some critiques are valid and some are not. Calling a character "too normal" is not, IMHO, a valid critique. Now, if "normal" means "boring," as in undeveloped and flat, then that needs to be fixed. But personally, I miss normal protagonists. I miss the average kid or teen who stumbles into adventure, maybe didn't even want it, and struggles with what to do. I miss characters who can't do everything well, who make mistakes, who do something that doesn't involve saving the world. I wonder, in fact, if all these larger-than-life characters are making real kids feel like they aren't good enough. – Stephanie M.7 years ago
Patrick Ness wrote a book called 'The Rest of us Just Live Here', which is from the perspective of the 'ordinary kids' in a school full of heroes. It was quirky and thought provoking. Heroic child protagonists do seem to be the current trend, though.
– JudyPeters7 years ago
I'm gonna have to investigate that book... :) – Stephanie M.7 years ago
The most common film related outbursts occur in the viewing of horror and suspenseful movies and more often than not begin with the words "Just use…" or "Why does no one have..?". This is the question I pose to you now; Why is it nobody in these movies seems to have access to modern methods of communication and utility? And how long can these films continue to entertain with such an obvious character deficiency?
I would find examples of films to back this up. – BMartin438 years ago
Seconded - there are horror films which revolve entirely around modern technology. The convenient writer's trick of destroying people's phones or rendering them lost or useless cropped up most often when mobile phones were relatively new, and it was a broader issue which included comics and fiction outside of film. This could be an interesting article if you could attach a bigger issue to it, like the borderline unrealistic weakness, lack of common sense or hysteria which mysteriously overtakes individuals or groups of individuals in life-threatening scenarios. – smoldoggo8 years ago
Funny Games is the first example that came to mind. There's a lot to unpack with that film that may make it a complicated example, however. – daniellegreen6248 years ago
I don't if there any films that fit this category, but it would be interesting to look at examples where everyone has modern technology but it is rendered unusable by, say, magnetic pulses, and the characters have to react quickly without the devices they have come to rely on. – JudyPeters7 years ago
I think the "oh dear I can't use my phone or car to escape because it mysteriously doesn't work" is certainly another facet of the cliché mentioned by the OP. I agree with the point about the lack of common sense in life threatening scenarios being a key issue. Could it be that such clichés are not merely lazy writing but inherent in the genre and to a point, expected by audiences?
– Dion7 years ago
Analyze what themes and challenges a feminist writer might endure when creating fiction or nonfiction. How do they skillfully educate the masses while still creating a story to win over even the most misogynistic in society?
Great topic. I wonder if writing with a male nom de plume/pseudonym is still helpful. – Munjeera8 years ago
"Educate the masses" implies that feminism is always 'correct'. Perhaps in its core tenants, but the term has been somewhat co-opted today... I don't know if it's logically coherent to assume one's ideology is of ultimate educational authority? Like, perhaps from another's point of view the so-called masses need no education, and to them this is the ultimate truth. Point being: ideologies can never logically be 'true,' because morally-based (unscientific) truth is essentially subjective. – m-cubed8 years ago
m-cubed, you're misunderstanding the topic proposal if you think it is about saying one side is right. It is about educating people on a subject that they may not have otherwise been subjected to because of previous idealogical belief. Your words:"from another's point of view the so-called masses need no education, and to them this is the ultimate truth." Translation: Some people believe the acquisition of new knowledge or points of view is unimportant so therefore it should be. I simply disagree and I'd assume many people who write for this online magazine would too. Your comment makes the point as to why it needs to be written about. We can debate the philosophical meaning of truth all day and night, but the bottom line is feminism exists and is an important topic. It remains contemporaneous and relevant to many, many social movements today. Unsurprisingly, it has found its way into the literature we read. – JulieCMillay8 years ago
One of the major challenges is to present a plausible, or at least imaginable, alternative to patriarchy. I think Ursula Le Guin is a great example of a feminist writer who does just this in a way that is engaging and not preachy. – SFG8 years ago
I think it depends on how they identify: female, WOC, LGBTQIA+ and disabled feminist writers are often met with abuse/threats and ignorance... however, when a male (typically cisgender and white) feminist writer conveys similar messages, he isn't met with abuse (at least not to the extent she does), and is hailed as a champion of women's rights/the greater good. Watching that unfold can be daunting and prevent a feminist writer from wanting to publish their work. – stephameye8 years ago
I think the problem m-cubed has articulated about "educate the masses" relates to the idea of truth. For many years, the canon of literature was dominated by White, male Eurocentric men. Having said that, there were women who were accepted under a male pseudonym which reinforces patriarchy. Patriarchy and novels that support androcentric protagonists were always valued and seen as the only voice. With online writing though, we really have no idea who the writer is unless revealed. I think one way barriers have been reduced is by online access which is one reason I love theArtifice so much. – Munjeera8 years ago
"How do they skillfully educate the masses while still creating a story to win over even the most misogynistic in society?"
Include believable and well-rounded female characters in your fiction - whether as a protagonist or as an antagonist write them as real people, reveal their humanity and show that women in fiction can be just as cool, or cruel, as the male characters. Show the misogynists that we all have an inate humanity, we all have strengths and we all have weaknesses. Show them that men and women work better together as a team, that society can be farer and more equal - and that society will be all the better for it. – Peter Guy Blacklock7 years ago
'Educating the masses' is a rather unfortunate choice of term, perhaps. No-one wants to read didactic literature in this day and age. – JudyPeters7 years ago
Ah, a highly interesting and timely topic! I can think of a few challenges right off the top of my head. It'll be fascinating to see what a writer comes up with. – Stephanie M.7 years ago
The Marvel Cinematic Universe is complex and fascinating, and like many fans, I love the crossovers among the films. However, with the addition of several TV series (Daredevil, Agents of S.H.E.I.L.D., etc.), it seems nearly impossible to keep up with the intricacies of the world. With more TV content on the horizon for Marvel, I wonder if the platform is too much. It's confusing for new watchers to fully understand the overall plot without having seen previous Marvel films. I think the argument can go both ways. On one hand, the multimedia platform is exciting and facilitates depth. On the other hand, is there a point when it will all be too much?
This is a very interesting point that you have brought up. With solo films for Black Panther, The Wasp and many other superheroes coming up too, it has become next to impossible to keep track of all the stories. One can also contrast the current times where a superhero film is released every 6 months and series like Luke Cage, Jessica Jones on Netflix ensure that we have stuff to watch all year round with say, a decade earlier when people used to have to wait for a couple of years to get a Batman or Spiderman movie. – Vishnu Unnithan8 years ago
Is it possible that the constantly growing scale of the MCU won't necessarily kill it but force it to become more and more niche? A casual viewer may reach the point of superhero fatigue or throw up their hands and say "I can't keep up with this anymore", but the more hardcore comic book fans who've kept abreast of decades of comic book history as well as all the multi-verses, galaxies, and timelines would theoretically still support these stories coming to life in all forms (as long as they maintained their level of quality). – LC Morisset8 years ago
You can never have too much Marvel. Just like you can't have too much ice cream. – Munjeera8 years ago
Both are good arguments but to me that whether it is too much or not, people are and will still watch these Marvel shows and movies. It's interesting that maybe on some level these points to bridge the gap between the amount of consumption of watching these shows and imagining ourselves in the world of the superheroes. – daisy8 years ago
The market has definitely been flooded. They don't seem to hold the same weight they once did. It would be interesting to see if its because we are spoiled for choice, or is it a case of Disney choosing quantity over quality? Either way, I hope we stick to one Star Wars a year, Disney; any more would be overkill. – AGMacdonald8 years ago
I think we can see the stretch sometimes with Agents of Shield fumbling to connect but not spoil the Marvel movies that happen during its seasons, and Netflix's shows trying to ignore The Avengers (and, soon, Spider-man) in New York. – IndiLeigh8 years ago
I can relate to this a lot. I am a total superhero/comic nut, but with school and work and everything else going on, it has become tough to be on top of all the new intricacies of the MCU. I like the way Marvel is taking it though. The films and series are standalone enough to be enjoyed by anyone, but there are plenty of connections and easter eggs between everything to keep the nuts like us happily scrambling. – superdilettante7 years ago
I have often wondered whether a trained actor would be able to beat a polygraph test. Is the art about deception or perception? Sure we all put up a front in our lives whether its work or relationships, do actors have a leg up in this respect?
I'd like to think actors as more in-tune with human emotion rather than "liars" per-say. And i wonder if the question you raise could be applied to lawyers too, when they defend someone they know to be guilty in their heart. It's hard to say really, but i think at the end of the day and actor isn't any more susceptible to compulsive lying that anyone else really. Heaps of people - whether they are actors and lawyers or not, have the ability and tendency to lie. At least with actors, there ability to pretend is put to good use in the form of cinema. – NoorGillani8 years ago
Actors are people paid to act in front of an audience. I think the topic should ask how actors are able to lie so easily. – BMartin438 years ago
beekay, I would actually suggest expanding this idea and talk about how movies themselves are false. Jean-Luc Godard once said that movies are just, "24 lies per second" (in reference to the frames through the projector), which I would say is correct; nothing that happens in a movie is natural because it is all staged, and even if the director tries to be realistic about it and have the actors improvise, there is still a production going on; there's still lighting equipment and editing involved. With that said, I would also address the fact that most people know that what's happening in a movie is fake, so there really isn't any reason to feel like one has been lied to or cheated. – August Merz8 years ago
This is an interesting topic to consider and as a actor I wonder whether I could, in character, pass a polygraph test. As to whether the art is about deception or perception, well both aspects come into play. We may well deceive an audience into believing what they are seeing and we certainly do play with an audience's perception, but equally so an audience knows it's being deceived and has willingly suspended disbelief for the duration of the play, film or performance. Yes, I suppose we are more in tune with human emotion, but only so far as we study those aspects of a character in order to create a believable performance, although it has come in quite useful for me when dealing with pompous authority figures in my daily life, knowing how to tune my 'performance' to manipulate his/her perceptions and get what I need from them. How are we able to lie so easily? The short answer is because that's what we've been trained to do. It's a skill like any other and to become proficient it takes a lot of practice. – Amyus8 years ago
Not that I'm a big fan by any stretch of the imagination. I heard on a broadcast documentary for the actor Sean Connery, that he snagged his first movie role by telling a mouthful of lies about his acting experience at a rehearsal. Makes you wonder. – lofreire7 years ago
lofreire. LOL good comment. You should hear some of the porkies Michael Gambon tells about his early life. The troubling thing is that he sounds so genuine! – Amyus7 years ago
There is a underlying current to this topic that just dawned on me. Write about the best deception in a film or by an actor against the worst deception in a film or by an actor. Would that be too far off the mark or more worthwhile? – lofreire7 years ago
(on NoorGillani) Heaven only knows, actors pay the price for it--Heath Ledger. – lofreire7 years ago
Perhaps an interesting experiment would be to see how an actor out of character vs. the same actor in character would fare in the polygraph test. – L Squared7 years ago
I am curious to this. It would be cool to try it. – ivyskiss7 years ago
Doesn't Hypocrite start out as... – Antonius8657 years ago
Discuss the use of myth in The Legend of Korra. What historical religions, legends, myths did the creators draw inspiration from? How does this shape their animation and style? The mythology of The Legend of Korra (and its predecessor, The Last Airbender) has always fascinated me and I'd love to see it analyzed in depth.
Check out Buddhism. There are tons of similarities between how the Avatar is chosen/found again and how the next Buddha is chosen/found again. It's quite interesting, but almost kind of lame when you realize how much the creators stole from Chinese culture! – Dominic Sceski7 years ago