Matrix, Blade Runner, And Metropolis
Science-Fiction films have evolved through the decades as technology as progressed, allowing for greater Special Effects and visual demonstrations of worlds overrun by machines.
Three such films - The Matrix, Blade Runner, and Metropolis have manifested their stories not only through their scenery and futuristic landscapes, but also through society and the forces governing them.
In their essays, Stan Brakhage and Giuliana Bruno examine these influences within film and how they demonstrate the relevance of history in a social context; postmodernist influences; and the perceptions of vision as they appear on film.
In Bruno's essay Ramble City: Postmodernism and Blade Runner, Bruno examines the film Blade Runner, as it relates to postmodernism and the ideals surrounding the architecture, and social infrastructure of the world where people lack a 'real' history, and therefore, philosophically, a 'real' existence.
The city of Blade Runner is not the ultramodern, but the postmodern city. It is not an orderly layout of skyscrapers and ultra comfortable, hyper mechanized interiors. Rather, it creates an aesthetic of decay, exposing the dark side of technology, the process of integration" (Bruno 185). Visually, the city emits a feeling of desperation and a fragmented industrial wasteland, rather than a 'Hell on Earth'.
It is also apparent that there is a breakdown of the human condition. The Replicants struggle for a personal identity by searching for their history. Bruno shows this condition as being Schizophrenic in nature and I feel this is accompanied with a fear of 'no past, no future'.
Without a tangible link to their past, the Replicants in turn have nothing for the future. This is also the case in The Matrix, yet there is only a desire for this tangible...
The way that the director deals with the response of the various characters to the disaster is also filled with psychological depth and intrigue. The film also deals with the way that people respond to situations of life and death. Others would argue that the depth and intellectual range of a film like Titanic is not nearly as intensively "artistic" as Wild Strawberries. In other words, the suggestion is
Godard believed that cinema should be an extension of criticism, a concept that he is able to achieve in Le Mepris through his criticism of traditional Hollywood cinema and the restrictions imposed on directors who were struggling to define their style and voice their interpretation of stories set before them. Godard is able to inject his personal interpretation of Moravia's novel by writing the script of the film and
Art Cinema and Theatre of Absurd In "The Art of Cinema as a Mode of Film Practice," David Bordwell provides a definition of what he believes constitutes art cinema in order to define the style as an artistic movement. In "The Theatre of the Absurd," Martin Esslin provides similar arguments about theatre as Bordwell does about film. Bordwell and Esslin both provide an analysis of the elements that distinguish art cinema
Mulholland Dr., directed by David Lynch. Specifically, it will compare the film with the essay "Babes in Babylon," by Graham Fuller. MULHOLLAND DR. The film "Mulholland Dr." is everything Fuller says, and more. Viewed only as an art film, the scenes are lush, dramatic, dark, and classic film noir. Just like its Los Angeles setting, it is sensual, quirky, weird, and difficult to comprehend in the end. As Fuller concedes, "Given
Tree of Life: New Age Seminal Film Well into the second century of the fictionalized, narrative films, groundbreaking ideas materialized in seminal masterpieces of the film genre are not easy to come by. A list of these usually ends up with 2009, when Avatar was released. "The Tree of Life" is an out of the ordinary film that exceeds the category of "pretentious" artsy, intellectual films that nobody understand, but many
East/West An Analysis of Eastern Influence in Western Art The American/English poet T.S. Eliot references the Upanishad in his most famous poem "The Wasteland," a work that essentially chronicles the break-up of Western civilization and looks to Eastern philosophy for a kind of crutch in the wake of the abandonment of Western philosophy. Since then, Westerners, whether in literature or in film, have continued to look to the East for inspiration and
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