These films offer a spectrum of imagined futures and histories, from the optimistic (robots as helpers and companions) to the catastrophic (AI as overlords or rebels). Together, they form a kind of cinematic map of our hopes and fears about technology. Whether warning us of dystopian outcomes or inviting us to imagine harmonious coexistence, these stories reveal our collective anxieties and aspirations at different cultural moments. They are not merely tales about machines; t

John Waters’ Cry-Baby (1990) and Tim Burton’s Wednesday (2022) present two very different examples of how subculture is portrayed and received. While Cry-Baby remained a niche cult parody of 1950s delinquent culture, Wednesday became one of Netflix’s biggest hits, mainstreaming gothic and outsider aesthetics for a global audience.

Originality is often mistaken for total invention, but in reality, the best stories are echoes — not replicas — of what came before.

When people think of great robot films, they name the usual suspects but overlook Edward Scissorhands.

Tim Burton stereotypically represents The Desperate Housewife to emotionally manipulate his audience. Joyce has all the trappings we have se

The stereotypical representation of the Bumbling Dad provides the space for Edward’s demise and ruin. It also adds humour to the film which

Tim Burton may have a stereotypical representation of The Outsider, but Edward is not like any we've seen before. Yes, he is represented

This analysis of the film, Edward Scissorhands, analyses the film's gothic fairytale genre, and its theme of conformity