Furthermore, it must be remembered that Althusser saw ideology as inescapable and a necessary feature of society ("there is no practice except by and in an ideology") (Althusser 93). Therefore, referring to the world outside of the matrix as the real world is insufficient and inaccurate. The ideology of the "real" (as Morpheus says, "welcome to the real") serves to enforce the notion of Neo not as rejecting ideology in favor of reality, but rather moving from the ideology of the machines (the matrix) to that of Morpheus (the ideology of the "real").
Philosophy in itself is an unidentifiable subject matter because of the lack of specificity in the fields it touches upon. It is “defined” as a way for humans to strive for ourselves in this reality in which we live in. No one person has the answers as to who we are and why we are living. The value of philosophy changes in character as history changes, thus the meaning of philosophy is what we as individuals perceive it to be. Though subjective, there are core ideals that unite the beliefs of all philosophy, such as the idea of the self.
Descartes referred to this as occurrent existence. By removing all sources of knowledge that have no certain truth such as the senses and their impressions on the mind, the remaining part must be a persistent self. Therefore, Descartes states, “I think, therefore I am” (Descartes, pg 161). Since it is impossible for the thinking self to exist by itself without a controlling element outside of the material world, Descartes posited that there must be a transcendent immaterial element responsible for existence. Therefore, Descartes leaves room for a prime mover that is the source of the self.
Does a film have to be a completely accurate picture of the world in order to realistically represent it? There are arguments for both sides, but ultimately realism in cinema is subjective, because people’s view of the world is subjective. Reality for you can be completely different for someone else. The same way a movie can be an accurate representation to you, but the complete opposite to someone else. Andre Bazin claims cinema realism stems from the origins
The worldview of Realism is one of an immanent perspective; meaning that what is significant in life already exists in the present world, not in the existential imaginary (lecture, w1). Rather than reorganize or redesign reality, realism aims to reveal the world, as if holding up a mirror and showing the reflection of the life itself (lecture w2). There are two main categories of Realism: Orthodox and Critical Realism. They attempt to respect the mise-en-scene by not disrupting the shot, which is mostly done by trying to keep editing and camera work invisible and unnoticeable to the viewer. Both stay true to the qualifications of Realism; however, there are various differences between Orthodox and Critical Realism.
For example, they consist of ideas such, hot and cold, soft and hard, bitter and sweet. They also give us experience through are own mental o... ... middle of paper ... ...s not possible for our knowledge to truly represent what reality really is. He believes that “the only certainty that we can have concerns the relationships of our own ideas. Since these judgments only concern the realm of ideas, they do not tell us about the external world” (p. 108). This means that any knowledge about reality must be based on a posteriori judgments.
The main character shapes his thoughts unconsciously so that he believes in something that is real to him but not the world. In other words, our minds determine what is personally real. Many movies are created without the notion of conveying any sort of message. The movie “Fight Club” relates the problems faced by the main character to philosophy but more specifically, to Idealism. It is both frightening and intriguing to know that ones mind can control ones perceptions of reality and whether or not what they are seeing is real.
These maybe representations of the feelings that people have been going through all along. However, though epic melodrama successfully weaves together the contradictory ideologies but when it is shown through a realistic point of view, these ideologies will fail. Epic melodrama, is a cinematic technique that attracts and creates all the emotions that are rendered by the characters to be felt by the cinema audience, but it ends the moment the reel finishes, as real life implementations of all the messages, are not only hard, but according to me till a great degree impossible.
Lighting helps to takes us into the inner workings of their mind when there are disconnections between the things they say and what they actually believe. The use of the subtlest of ambient noises do more for the film than an entire soundtrack possibly could. If anything be pulled from Hard Candy, it is that you never truly know what you are looking at from the outside. Just like the elements of design in the film, the characters and plot are against the norm, and there is a lot more going on than meets the eye.
The viewer will watch what is happening, trying to get a sense of the plot, but the plot, really, is unimportant. The very nature of plot demands a sense of linearity, and this movie lacks such a characteristic. However, the plot is also the most important aspect of the film, because, ultimately, almost everything each character does seems to be part of a dream in the mind of the central character, Fred Madison. Consequently, what happens is not merely manifest content to be brushed aside. Hidden within it is the latent content which will give the viewer an understanding of what is happening in the mind of this man.