read below and answer 2 questions 80 word min total

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Action and Adventure (2006) andRomance (2006) in the Week 4 Electronic Reserve Readings.This question has two parts. Please be sure to answer both parts.Part One: Think of one action/adventure film and one romantic comedy that you know well. Combine characters and ideas from both films and come up with an original idea for a romantic action/adventure film that you think would appeal to modern day audiences.Example “Die Hard” (1988) meets “Sleepless in Seattle” (1993). An ex-cop who believes that he lost both his daughter and his wife in a botched kidnapping rescue two years earlier, is about to marry his former partner when he recognizes the voice of young girl on talk radio, discussing her mother’s rich, but abusive husband.Part Two: Please end your responses and comments with open-ended and thought-provoking questions that assist further discussion on the topic.


Cinema, more than any other art form, has an immediacy that can set the pulse racing by catapulting viewers into death-defying situations in far-off times and places. Pirates, outlaws, spies and renegade cops are among the larger-than-life characters onto whom audiences can project their own heroic fantasies. Within this escapist form of entertainment, stunts add a visceral thrill to the emotional impact of a story – as early as the 1890s, showmen were eliciting gasps by fixing cameras to the front of trains for a ‘phantom ride’. The swashbucklers of the silent era brought exciting physical movement to costume dramas, leading to increasingly high standards of spectacle and set design. Bursts of action became important components of many genres, from World War II-inspired films to the historical epics of the 1950s. The relaxation of censorship laws in the late 1960s allowed action scenes to become more graphically violent, although scale was still of primary importance, as evidenced by the disaster-themed adventures of the 1970s. By the 1980s, action in US cinema had become synonymous with the popcorn buzz of high-concept blockbusters and the oiled muscles of superstars such as Sylvester Stallone and Arnold Schwarzenegger.

The genre today
Although Hollywood’s big-budget adventures dominate the global box office, they have recently started to respond to foreign influences – notably the slow-motion gunfights of Hong Kong cinema and the invisible-wire acrobatic techniques of Asian kung fu epics. Increasingly sophisticated computer effects have helped to push action spectacle to unprecedented levels, although one result of this trend is that many action blockbusters now resemble a series of stunt set pieces, only loosely linked by a plot.


As film stars are among the world’s most beautiful people, it is surely appropriate that they should be shown to fall in love with one another for our viewing pleasure. This is the essential appeal of the big-screen romance, a genre in which emotional resonance is more of a priority than superficial action. The first film that could in any way be described as romantic was Thomas Edison’s The Kiss(1896), a 20-second shot of two stage actors sharing a passionate embrace. During the more eroticized silent era, vampish Theda Bara and smouldering Rudolph Valentino set hearts aflutter. In the 1930s, humour became part of the genre, with screwball comedies throwing all manner of obstacles into the path of quick-witted lovers. Love itself became dangerous in the films noirs of the 1940s; later in the century, even after the advent of a more relaxed censorship system, it became clear that explicit sex and on-screen nudity would never take the place of true romance.

The genre today
In modern romance films, the emphasis has shifted from straight love stories and tear-jerkers to romantic comedies designed to appeal to the widest possible audience. Outside Europe, however, women’s roles are still often weak and badly written.

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