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Influence of science fiction
Conclusion of science fiction influences on modern society
Conclusion of science fiction influences on modern society
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Dark City, a film by Alex proyas is a tremendous visionary accomplishment, and a motion picture so authentic and innovative, it provokes your wildest imagination. If these words speak the truth, as the German Director Werner Herzog presumes, that human beings live in an era emaciated of fresh concepts, then Dark City is a picture to enrich us. Not a tale so much as an incident, it is a exultation of art direction, cinematography, set design, special effects and of course, imagination.
Similar to Blade Runner, it conceptualizes a futuristic city. And Although Blade Runner prolonged existing trends, Dark City ascends into the obscure unknown. Its boundless noir metropolis implies to prevail in an alternative timeline, containing aspects of
I'd be working in a place like this if I could afford a real snake?"
In conclusion, by using the production elements of both allusion and symbolism; director Tim Burton has created the film in such a manner by making deliberate choices in order to invite a certain response. The film is constructed and given greater depth through the allusion to elements from other genres and ridicules the suburbia’s materialism and lack of imagination, which in turn enhances the invited response.
Being ‘lost’ in the city as a young child, initiated Michaels sense of comfort amongst the chaos and tall buildings. Repetition of “running away” from home, indicates his desperation to escape his discontentment; his desired fulfilment can only be satisfied in the city. Conversely, his parents personify the city as a foreign place “Alien city eyes,” somewhat surreal and unexplainable in comparison to the comfort of their suburban home. Despite this lack of understanding between mother and son, she unwillingly accepts the drug soaked city, as his place of true satisfaction, “I released him into the darkness where he belongs,” infers his wild, untameable nature, as the city has taken away his child-like innocence. However, Dawson expresses Michael’s liberation from the city that to his mother, is tainted by danger and the unknown. Thus, connection to place is personal, the urge to assimilate in a particular place can influence the subconscious mind to see morality in indecent
The film stays in line with classic noir in many ways. The usage of dark sets and high contrast lighting, which creates heavy shadows on the actors faces, makes the movie feel like it all happens at night and in dark alley ways. The story focuses on the inhumane parts of human nature. Each of the main characters experiences some kind of tragedy. For Vargas his tragedy was in dealing with Quinlin who has set out to frame him and his wife. For Quinlin his entire life represented a man consumed with darkness who lives his life with a “Touch of Evil.” Menzies was a hopeful man who looked up to Quinlin but was let down. For the viewer, film noir represents truth, even if it is not a truth that all people would like to hear.
From the silent epic of Fritz Lang Metropolis (1927) to Ridley’s Scott’s spectacular Blade Runner (1982) the connection between architecture and film has always been intimate. The most apparent concepts that connect these two films are the overall visuals of both films and their vision of city of the future. The futuristic city of both Scott and Lang are distinct in their landscapes, geography, and social structure. These two films sought to envision a future where technology was the basis by which society functioned. Technology was the culture and the cities would crumble without it (Will Brooker). Metropolis and Blade Runner uses the themes relationships among female sexuality and male vision, and technology. However, Gender roles and technology seems to be the most important part in both films.
Thematic elements are also very similar, ranging from imperialism to darkness to madness, as well as the exploration between good versus evil. The messages between evil show the terror between the effects of imperialism and the madness of humanity. Yet, both the book and the movie display these effects neither dramatic nor happening quickly. As T.S. Eliot's Hollow Men says relating to the “Apocalypse”, “this is the way the world ends, this is the way the world ends, this is the way the world ends, not with a bang but with a whimper.”
Throughout the years, there have been many different texts and while some of them can be very similar or focus on the same topic, no text is truly the same as another. Every story, essay, or poem written is unique even if by little amounts. Spying is a very popular topic that has spawned many texts about the topic, such as The Dark Game by Paul Janeczko, and the Code Book by Simon Singh, and while the texts focus on this topic and have many similarities, they are also quite different in many ways.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
In the opening scenes of the trailer, already the audience is exposed to the dystopian atmosphere of chaos, social anarchy and oppression. This is promoted by short fast paced montages and high angle shots of the swarmed streets, close angle shots of people in terror and military forces. This also conveys the magnitude of chaos this “dilemma” has caused. A short scene of the main protagonist Robert struggling through the crowd has also been visually constructed to enforce to the audience that he is the main character of this movie. The visual construction of this scene is utilised by a close up slow motion focused shot on Will Smith with the background blurred to completely draw the audience onto him. What is more unique is that this combination of effects acts as an inference that Will Smith is the solution or only hope in settling this anarchy as he swiftly makes his way through the congested street. The explosion of the bridge also informs the audience the narrative is set in New York implied by being a landmark of the city. Already in the exposition, the visual conventions have provided an engaging and well informed construction of dystopian qualities and information about the plot itself.
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
Francis Coppola’s movie Apocalypse Now was inspired by the world famous Joseph Conrad novel Heart of Darkness. A comparison and contrast can be made between the two. Both have similar themes but entirely different settings. Heart of Darkness takes place on the Congo River in the Heart of Africa, while Apocalypse Now is set in Vietnam.
“It was the best of times, it was the worst of times…” Charles Dickens began his remarkable novel, The Tale of Two Cities, in this way (Dickens 1). His famous beginning has been quoted by different people countless times. This opening is counted as a classic because it makes people think they already read the whole book just by reading those words. It perfectly covers the main theme in the novel A Tale of Two Cities. The novel depicts London and Paris in the late eighteenth century, and especially focuses on the French Revolution. As a prolific author, Charles Dickens wrote many memorable works. However, A Tale of Two Cities is one of his most outstanding novels not just because it conveys the dual nature of of this epoch. The themes of resurrection,
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
“There can be no understanding between the hand and the brain unless the heart acts as mediator.” Mediation and reconciliation serves as the central narrational and visual theme of Fritz Lang’s 1927 masterpiece Metropolis. As a commentary on the changing modern world, the film juxtaposes the image of the city against an idyllic conception of the medieval world. Lang’s manipulation of mise-en-scène creates a complex understanding of the future––one that blurs the line between the past, present, and future. Metropolis is set in the distant future, yet narratively and thematically addresses the state of the present world through medieval Christian themes and doctrines. In its attempt to come to terms with the social landscape of post-World War