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Effects of movies during the cold war era
Cold war movie analysis
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Facing Our Fears in Science Fiction
The dead are walking. They lumber and limp, feet scraping against the asphalt. Suddenly, they lunge and tear down into soft, warm, vulnerable flesh with startling speed. Not far behind, oozing inside-out hellhounds growl around razor fangs, stalking with murderous intent. All because of an innocent little airborne chemical weapon…This can’t be happening, this would never happen, right? It may sound far fetched, and it is. These horrifying creatures grace the screen of current blockbuster hit, Resident Evil 2: Apocalypse. So you’re safe. For now. But why are these images on screen so terrifying to us? Why do we cringe and gasp and sigh with giddy relief when it’s all over? Because we’ve just been given a brush with death. One of our greatest common fears came to life, and we stared it straight in the face and lived to tell about it. And that’s why we’ll keep coming back. After all, that is how science fiction films have maintained their popularity and appeal for over fifty years now – they take whatever common fears our current society possesses and reflect them back at us.
Fifty years ago, computers were as yet unheard of, and the world was still a very large place. Society was not so much concerned with trouble within itself, but with assault from outside forces. According to film critic John Brosnan in Future Tense, the end of World War II sparked the beginning of the “Golden Age” of science fiction (73). The war was over, but the Communist threat was still out there, and with the unleashing of the atomic bomb fear of a full scale nuclear war bordered on paranoia. Families built bomb shelters in their backyards and schools held air raid drills for their c...
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...he dead walking. We love to ask ourselves, “This can’t be happening! This would never happen! Right?” Wrong.
Works Cited
Brosnan, John . Future Tense. New York: St. Martin's P, Inc., 1978.
Dirks, Tim. Science Fiction Films. May 1996. 02 Oct. 2004
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Glass, Fred. "Sign of the Times." Film Quarterly 38 (1984): 16-27.
Menville, Douglas . A Historical and Critical survey of the Science Fiction
Film. Diss. U of Southern California, 1959. New York: Arno P Inc., 1974.
Senior, W.A.. "Blade Runner and Cyberpunk Visions of Humanity." Film
Criticism 21 (1996): 1-12.
Telotte, J.P.. "The Problem of the Real and THX 1138." Film Criticism 34
(2000): 45-57.
Warwick, Kevin. "The Matrix - Our Future?" The Philosophy of the Matrix. 20 Nov.2002: 14 Oct. 2004
Let me briefly explain a simplified plot of The Matrix. The story centers around a computer-generated world that has been created to hide the truth from humans. In this world people are kept in slavery without their knowledge. This world is designed to simulate the peak of human civilization which had been destroyed by nuclear war. The majority of the world's population is oblivious to the fact that their world is digital rather than real, and they continue living out their daily lives without questioning their reality. The main character, Neo, is a matrix-bound human who knows that something is not right with the world he lives in, and is eager to learn the truth. He is offered the truth from a character named Morpheus, who proclaims that Neo is “the One” (chosen one) who will eventually destroy the Matrix, thereby setting the humans “free.” For this to happen, Neo must first overcome the Sentient Program agents who can jump into anyone's digital body. They are the Gate Keepers and hold the keys to The Matrix.
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Santoro, Gene., Top Secret Rosies: The Female Computers of WWII. 2011, Volume 25 Issue 6, p.70, Accession Number: 58110946
entertainment, and countless others. All of these matrices are related with each other and with specific operations of individuals. The book and the movie demonstrate the interaction of multiple matrices, from single to multi-dimesional. It shows the destruction and the development of systems and the impact of one individual on the largest matrix, the human race.
The purpose of this paper is to expose some of the stereotypes present in the film The Matrix, directed by Andy and Larry Wachowski. In order to accomplish this we shall see that although The Matrix is considered to be a film about rebellion, it contains several stereotypical portrayals, which actually make it a film that supports the status quo. We shall also see that the African American characters in The Matrix (the Oracle, Tank, Dozer, and Morpheus) are all depicted in the stereotypical servant roles. Furthermore, the women (Trinity and Switch) in this film are portrayed stereotypically; that is, they are either reduced to a caring/nurturing role or they simply help make up the background (they do not have a voice). Finally, Morpheus’ initial power and leadership is stripped away leaving him to play the stereotypical supporting and buddy role.
The horror genre is synonymous with images of terror, violence and human carnage; the mere mention of horror movies evokes physical and psychological torture. As remarked by noted author Stephen King “the mythic horror movie…has a dirty job to do. It deliberately appeals to all that is worst in us. It is morbidity unchained, our most base instincts let free, our nastiest fantasies realized.” (King, 786). At manageable intervals, we choose to live these horrific events vicariously through the characters in horror movies and books as a means of safely experiencing the “what if”. The horror genre allows us to explore our fears, be it spiders, vampires, loss of our identity, or death of a loved, under the most fantastic and horrible circumstances conceivable. King also points out that by watching horror movies we “may allow our emotions a free rein . . . or no rein at all.” (King, 784). According to psychiatrist James Schaller, by vicariously “experiencing contrived fears, a person develops a sense of competence over similar types of fears.” (Schaller). Horror films allow the viewer the opportunity to safely examine their fears safely and to the depth and extent they wish to do so. Texas Chainsaw Massacre 2 provides the opportunity for the viewer to consider a diverse range of fears, with a little humor thrown in for balance, from the safety of a darkened room, a comfortable seat and in less than 120 minutes.
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 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.
The Matrix is a 1999 science fiction film written and directed by The Wachowskis, starring Keanu Reeves and Laurence Fishburne. It tells a story of a future in which reality to most humans is actually a computer program called "the Matrix”. In "the Matrix” humans are really sleep while their bodies are fed on my machines. The movie while directed to entertain audiences but also gave us many insights into philosophy. Many scenes in this movie reflect Descartes, and his many writings explaining them in a visual manner. In this paper I will show various examples of philosophy within the scenes and give commentary explaining each scene.
There are some very startling similarities in the clash of matrices portrayed by the movie The Matrix and Dawn. On the surface the two works might seem to be addressing different topics, but the books have a common theme, and when the two works are analyzed in-depth, the parallels become readily apparent. The Matrix is about the clash between machines and humanity, while Dawn is about an alien race that decides to trade the survival of humanity for the genetic traits they can use from the human species. But at the heart of both struggles, there is a main character set between two startlingly different Matrices, or patterns of existing, and it is up to them to make the critical decision between which reality will continue.
The Matrix, directed by the Wachowski brothers, a film about the journey of Neo discovering the real and simulation world, revolves around how he is “The One” destined to save mankind. As critics may say that The Matrix is either an action packed movie containing philosophy or a philosophical movie containing action, critics also miss the fact that it could possibly be considered as a religious themed movie because it contains a plethora of Biblical references, such as symbolic evidence. In Gregory Bassham’s article, “The Religion of The Matrix and Problems of Pluralism”, he discusses how the film contains Christian themes, non-Christian themes, and lastly, religious pluralism. The rhetorical
The Matrix is a science fiction movie about artificial intelligence computers replacing mankind. I believe that this movie is a common type of display from the media is common paranoia so that they can get a reaction from people and sell their story. In the case of The Matrix, the movie dazzles people with awesome special effects using modern computer technology, which I find ironic. I find it self-conflicting and hypocritical for the media to use modern computer technology for their own good to show people how bad technology is. Amy Bruckman and Howard Rheingold would probably find this movie interesting in that it disagrees and agrees with certain aspects about their beliefs about the use of computers.
...The Matrix” and Plato’s “The Allegory of the Cave” almost gives the idea that the movies writers may have had a lot of influence from Plato’s allegory. The creation of this movie gives and futuristic prospective of “The Allegory of the Cave” letting the people who have seen the movie think about reality and the truth. In conclusion, Plato’s story of the cave brings up many philosophical points and most significantly, addresses the topic of society’s role in our lives. On some level, we are all influenced by the thoughts and actions of everyone else, but at the same time, we as humans have the ability to question, make our own conclusions, and finally make our own choices.
One might argue that the scariest horror films are those films which horrors portray a sense that something of that nature might actually happen in the real world. The beauty of horror films is that anything could theoretically be possible, like Freddy Krueger sticking his tongue through Nancy’s phone as he says, “I’m your boyfriend now, Nancy” or a horde of zombies stampeding through the cities of the United States wiping out humanity in its path. If one thinks about it long enough, anything we can perceive could happen. However, there is a line between the pure science fiction and those horror films which attempt to tackle a more realistic, social, cultural, psychological, or political problem in society.
If you’ve ever had deja vu or felt that something about the world was just off, then you might just be living in the Matrix, a digital reality. At least, that is the case in the movie The Matrix directed by the Wachowski brothers. This movie, released March 1st 1999, takes place in a very distant future after a war between humanity and machines with artificial intelligence. A young man named Thomas Anderson, who goes by Neo in his nightlife as a hacker, discovers that the world is not all he thought it to be. Neo learns the truth about his world and what he has to do to save it in this action packed science fiction film.