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The matrix cinematography
Cinematic analysis of the matrix
Cinematic analysis of the matrix
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In the film The Matrix (1999) in the scene “The Two Pills” help characters and relationships are developed and continuation of the films narrative through various components of cinematography and mise-en-scène. Most notable in The Matrix is the use of costuming, sound effects, props, setting and camera movement. Through the use of these techniques the audience becomes more involved in the narrative as Neo meets Morpheus for the first time and is given the opportunity to learn the secrets of the matrix.
Mise-en-scène according to Dix (2008) is the visual elements that make up a scene. Costume in this scene is an important component of mise-en-scène, as it displays the contrast between Morpheus and Neo’s characters. Piatti-Farnell (2013) stresses the symbolic value of costume in cinema, and its effect on characterisation and the relationship between a character and its audience. Morpheus once lived as a human in the matrix, he wears mostly black, including full length a leather trench coat, mirrored sunglasses and black combat boots. Street (2001) talks of costumes power to make individuals stand out and to show an individual’s affiliation to a group. Although we are first meeting Morpheus, we are able to establish a lot about his character. As we can link him to the matrix, and his coat makes us feel fearful of his authority and power. Due to leather jackets and their connotations to biker gangs. Later the significance of these black trench coats is understood, as they are also worn by all those in the matrix. Gills (2005) believes costumes in this film are vital to both the characters in the film and the audience, as they aid them differentiating between the real and the manufactured world. This can be seen later on, as when Neo...
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Lacey, N. (2005). Film Language. Introduction to film (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Piatti-Farnell, L. (2013). In the Guise of Character: Costumes, Narrative, and the Reality of Artifice in Thelma & Louise. The culture and philosophy of Ridley Scott (pp. 231-243). United States: Lexington Books.
Pramaggiore, M., & Wallis, T. (2005). Film: a critical introduction. London: Laurence King.
Spadoni, R. (1999). The Figure Seen from the Rear, Vitagraph, and the Development of Shot/Reverse Shot. Film History, 11, 319-341.
Starmans, C., & Bloom, P. (2012). Windows to the soul: Children and adults see the eyes as the location of the self. Cognition, 123(2), 313-318.
Street, S. (2001). Costume and cinema: dress codes in popular film. London: Wallflower.
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
The Matrix relies heavily on the technique of symbolism. It is used frequently throughout the film implying both vital and obscure things. For example, the use of sunglasses. They indicated a characters strength and vulnerability. Or the doors representing the choices in Neo's life, the signs strategically placed throughout the film or even Neo's name being an anagram of the word "one".
Grainge, P., Jancovich, M., & Monteith, S. (2012). Film Histories; An introduction and reader. Edinburgh: Edinburgh University Press.
The Matrix series is much more than an action-packed sci-fi thriller. After one view of this film for the second and third time, we start to notice a great deal of symbolism. This symbolism starts to paint a completely different picture than the images of humans battling machines. It is a religious story, with symbols deeply set in the Christian faith. The Matrix contains religious symbolism through its four main characters, Morpheus, Neo, Trinity and Cypher. In that each character personifies the “Father,” the “Son,” “Satan,” and the “Holy Spirit” of the Christian beliefs only shown through the amazing performances of the actors. A critic by the name of Shawn Levy said "The Matrix slams you back in your chair, pops open your eyes and leaves your jaw hanging slack in amazement."(metacritic.com)
The 1999 film, The Matrix, shows many philosophical instances. Comparing this film to Plato’s The Republic: The Allegory of the Cave, and Descartes’ First Meditation on Philosophy allows one to gain a deeper understanding of the work. Reality is a concept that may be vague to many people due to their given circumstances. The environment and the mind a person is in allows for different perceptions of reality. The power of reality falls in the eyes of the beholder. As shown in The Matrix, Neo was not the One until he believed he was, which can percept into everyday life; how someone thinks can affect how someone is.
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
”[1] From the above quote it’s fair to suggest that when answering this. question importance lies in the discussion of Film Language. The assignment will therefore look at the various Film Languages. The text that will be used is Macbeth[2] (Shakespeare), and Roman.
The movie "Matrix" is drawn from an image created almost twenty-four hundred years ago by the greek philosopher, Plato in his work, ''Allegory of the Cave''.The Matrix is a 1999 American-Australian film written and directed by the Wachowski brothers. Plato, the creator of the Allegory of the Cave was a famous philosopher who was taught by the father of philosophy Socrates. Plato was explaining the perciption of reality from others views to his disciple Aristotle. The Matrix and the Allegory of the Cave share a simmilar relationship where both views the perciption of reality, but the Matrix is a revised modern perciption of the cave. In this comparison essay I am going to explain the similarities and deifferences that the Matrix and The Allegory of the Cave shares.In the Matrix, the main character,Neo,is trapped in a false reality created by AI (artificial intelligence), where as in Plato's Allegory of the Cave a prisoner is able to grasp the reality of the cave and the real life. One can see many similarities and differences in the film and the allegory. The most important similarity was between the film and the Allegory is the perception of reality.Another simmilarity that the movie Matrix and the Allegory of the Cave shares is that both Neo and the Freed man are prisoners to a system. The most important difference was that Neo never actually lived and experienced anything, but the freed man actually lived and experinced life.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Deep within the cave the prisoners are chained by their necks and have a limited view of reality. Around them, by the distant light of the fire, they only see shadows and outlines of people or objects. From their conclusions of what they may think is real, are false. “The Matrix” parallels Plato’s “Allegory of the Cave” in a number of ways. Similar to the prisoners of the cave the humans trapped in the modern day puppet-handlers (the machines) want them to see. In the movie, Neo is a computer hacker, and on day he suddenly realizes that his world is fake, by finding out the truth after he was released from the pod. Neo discovers that what he has been presented with his entire life is only reflections or merely shadows of the truth. The theme is recognized throughout the movie as we see many objects, as well as Neo, reflected in other objects. The puppet-handlers (the machines) represent what Plato calls the influential and powerful members of society. The objects making the shadows in “The Allegory of the Cave” are also creating a false conclusion for the prisoners. In “The Matrix” the puppet-handle...
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
The Matrix is a sci-fi action film about a computer hacker named Neo that has been brought into another world deemed “the matrix.” The Matrix is a prime example of cinematography. The film uses many different types of cinematography such as mise-en-scene, special effects, and camera shots to make it interesting and entertaining to the audience guiding their attention to the important aspects of the film.
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.