A Comparison of the Representation of the Future of The Matrix and Planet of the Apes Sci-fi films were born in the aftermath of the industrial and scientific revolutions of the 19th century. The first motion picture from this genre was ‘Le Voyage Dans La Lune’, a Georges Meties production from 1902. This is regarded as the first sci-fi film; the one that set the standard for the genre and to what most of the future sci-fi movies would aspire to in someway. Le Voyage includes astronauts, spaceships, space travel, extraterrestrials, all these common ingredients that stereotyped the genre. Other sci-fi classics include: ‘2001: A Space Odyssey’ (Stanley Kubrick, 1968); ‘Alien’ (Ridley Scott, 1979); ‘Blade Runner’ (Ridley Scott, 1982) and ‘ET’ (Steven Spielberg, 1982). Though they don’t all have aliens or intergalactic wars, they hold criteria applicable to all sci-fi movies, that is they are set in the future or have a vision of the future and/or involve a third kind and show life outside of our own atmosphere. The vast majority of sci-fi films though hold a third dimension as well. Accompanying the vision of the future, and the aliens, and the spaceships is a deeper, moral message aimed towards its audience. The first notable motion picture to show this, and regarded as one of the greats in cinematic history, was ‘Metropolis’ (Fritz Lang, 1927) a full153 minutes long, compared to Le Voyage’s measly 14. Not only was Metropolis a technical triumph for its time, it holds a meaning and a stor... ... middle of paper ... ...tands the test of time, thanks only to its screenplay; the effects, score and sets can all be outdated, but a good script will never date until dealt with. Many of the influential screenplays, hence films, have risen from the sci-fi genre and they will undoubtedly continue to do so as long as the genre keeps re-inventing itself visually. This is something the Wachowski bros have done; they’ve started a new chapter in the history of cinema and sci-fi, one which has already spawned the likes of ‘Pitch Black’ ( Ian Thorburn and David N. Twohy , 2000), ‘Minority Report’ ( Steven Spielberg , 2002) and of course, the next two Matrix sequels. As long as sci-fi continues to re-invent itself, the genre will remain relevant, challenging, and entertaining, which is why it will survive as long as cinema itself.
People who enjoy science fiction would enjoy the movie or the short story the Minority Report. This paper is being written to express the differences between the movie and the story. The paper will be written based on the scenes, characters, and the technologies.
When the trailer for this film was first introduced to the public, many expected The Matrix to be just another science-fiction film with phenomenal special effects which lacked an intriguing plot. The majority of the reviews definitely put an end to this misconception. Most of the reviews written on this film eloquently complement the Wachowski brothers on their excellent story line. The Biblical references of this film incorporated with the phenomenal cinematography distinguish The Matrix from all other science-fiction films in which the main characters are on a race to save humanity. "The script, written by the Wachowski brothers is intelligent but carefully not geeky."2
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...
A race of ancient beings hold the only weapon capable of destroying an interstellar force of pure evil that emerges every 5000 years. This weapon happens to be a young woman named LeeLoo, the career launching point for indie actress Mila Jovovich, who was recently genetically re-built with a 3D printer (how eerily relevant) and proceeds to crash into the hover-taxi of special forces veteran Korben Dallas played by exploding movie star Bruce Willis. With the comedy relief of Chris Tucker playing out-of-control radio DJ Ruby Rohd and a mish-mash of influences from 1970's and '80's graphic magazine Heavy Metal, the cult hit Blade Runner, and of course Star Wars is laden throughout The Fifth Element but the story itself is holy original and a wonderful experience.The Matrix changed cinema forever and it's influence can be seen in almost any action movie made today. A Star Wars for the digital age, The Matrix launched Keanu Reeves to super-stardom for his portrayal of Neo, an ordinary computer hacker who learns that he may be the savior of mankind. With the old wizard mentor Morpheus played by Laurence Fishborne guiding Neo through "The desert of the Real" this movie truly captures the imagination during the beginning of the Digital Age, introduces many interesting philosophical questions, and remains a cinematic classic to this
As individuals overcome the inevitable process of change, they begin to realize their full potential. In the set text, the 1999 Wachowski Brother’s film, The Matrix, the concept of change is significantly explored. In the related texts “Plato’s Allegory of the cave” and “The Door” clearly represents and reinforces this concept of change; that it is inevitable and experiences from this process leads to wisdom. In each text, the individual composers explore certain themes such as “the illusion of reality”, “choices and the endless outcomes of change” and “the fear and danger of knowing”. All the texts mentioned visible represents that “It is the process of transformation that ultimately allows potential to be realized”.
There are many similarities between the motion picture, Matrix, and Orson Scott Card’s Ender’s Game. The most striking of these is the way the movie and the book begin. The first chapter of the book begins with a conversation between two IF agents about how one believes that ender is the one. Similarly, in the movie the first words are from Trinity, also stating her belief that Neo is “the one”. The theme of the “chosen one” who is destined to save the human race is dominant in both the movie and book.
As stated by the title, there is great reason why the Matrix should be treated in the same context, although not identified, as a western. This film genre is steeped in tradition and lore. There are many definitions abound as to what may constitute a “Western film.” The main goal is to see whether or not this paper can illustrate the genre be pushed towards the future. Whether it means the 20th century, the 21st century or the distant future. This genre can grow towards something bigger and more exciting.
In 1999 Larry and Andy Wachowski wrote and directed an American science fiction action film called The Matrix. The movie depicted a future where many humans might perceive is real, is actually a simulated reality. The Wachowski brothers made many explicit references in their film based on the work of French sociologist Jean Baudrillard. In Jean Baudrillard’s essay entitled “Simulacra and Simulations” he mentions in his essay how society has replaced all reality and meaning with representation of symbols and signs.
is the same as many other sci-fi films like war of the worlds and mars
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.
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
The advancement of technology also accounts for responses to sci-fi changing. Sci-fi stories have always needed a scientific premise. Very early sci-fi films did not look realistic and were often not taken seriously. These days, the film technology we have is amazing - just look at how realistic the apes were in Planet of the Apes! Added to that, the progress that mankind has made in the past few decades is incredible, so much so that a sci-fi films can present its audience with a fantastic idea such as time travel and make it appear possible. This the audience takes seriously. sci-fi is no longer just a fun
Fate and freewill remain two ongoing themes in this movie having major significance throughout. The Matrix directed by the Wachowski brother’s developed in 1999, became world famous due to its unique structure and unusual visual effects known as ‘bullet time’ as well as the ‘green tinge’.
The movie The Matrix raises many philosophical questions and often parallels previous and sometimes ancient theories regarding reality, skepticism, and perceptions of the mind-body problem. In this essay I will be evaluating how the movie The Matrix embodies theories and ideas involving skepticism and the mind-body problem. I will be explaining in detail why the movie, Plato, and Descartes have different views other than the normal way of believing what is real and what is imagination. I will also explain why some people cannot understand this way of thinking. Lastly, while evaluating these philosophical issues from the movie I will also compare how I believe these are similar questions that are raised by both the work of Plato and Descartes.