Essay about The Matrix

In any situation foreign to the character, anything and everything will be done to try to make sense of ones surroundings. The importance of identifying the type of the movies shown in “Worker Drone” by Raju, S. (2010) and “Play” by Kaplan and Zimmerman (2010) are vital to the understanding of not only the plot, but also the common themes presented. For example, common themes in both movies were was the sense of paranoia, a showcase of intertextuality and an ambiguous endings. All three common themes make it clear that these movies are in fact postmodern films, despite the fact that there were also a few common themes also found supporting a modernist and existentialist sense.

It then fades back out to, “The Slave”. It does this several times with various messages on the screen. This gives the audience a hint about what might happen in the film. These few opening sequences show that the film Is set in the ancient Roman era. This differs from ‘Mission Impossible 2’ as that is set nowadays, or at least in modern times.

In the opening scene of the film ‘Gattaca’, camera work and the power of setting engrosses the audience and institutes conflicts. Close ups and wide shots are most frequent for camera work while colours and organisation represent setting.

The movie opens with the visual of a giant clockwork mechanism which morphs into the streets of Paris.It is through the eyes

Similar to how the hazy quality adds to the oneiric atmosphere of the shots in the Dietrichson’s household, the elements of the mise-en-scène contribute to the realistic characteristics of the first shot. Here, the viewer is presented with a seemingly perfect upper class neighborhood full of California Spanish houses. The children outside are playing baseball and an ice cream truck drives by, representing the epitome of the American Dream. The image is sharp and clear, with the light source coming from the right. However, the lighting is practically uniform in this shot. There are several hues and colors present in this shot, which is consistent with the realm of reality. Each frame of the camera is busy and cluttered, and there is a great deal of movement from both the props and the actors. However, it can also be argued that the first shot—though fairly realistic—is interrupted by oneiric qualities.

breaks through the dense trees and gazes upon her. The light is a symbol of

Film exists in layers of physical existence and reality. You have the layer the audience views of the film’s world - setting, characters, and plot - and then you have the layer the film production workers view of the film’s world - actors, the set, and the story. Like photography, film is able to establish a physical existence. However, unlike photography, film uses two very unique and different techniques in order to establish its physical existence. According to Siegfried Kracauer, film establishes its physical existence through representation of reality as it evolves through time and with the help of techniques and devices exclusive to cinema cameras (Kracauer 187). All the world is a stage for film, however Kracauer lists specific techniques of film he refers to as cinematic due to how these techniques are read on the cinematic medium. Although Kracauer wrote his theory on Establishment of Physical Existence in 1960, the 2015 movie Tangerine contains a fair amount of content that can be serviced as examples in order to support Kracauer’s theory. Using the 2010’s movie Tangerine directed by Sean S. Baker, modern cinema examples from various scenes of the film can be provided for examples on Siegfried Kracauer’s theory of Establishment of Physical Existence through cinema’s recording functions of nascent motion, cinema’s revealing function of transients, and cinema’s revealing function of blind spots of the

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much

Topic: Thesis statement: Sequence analysis, film form and style as depicted in the film, The Matrix.

In this essay I shall discuss how the film, 'The Matrix', engages in a form of cinematic philosophy. Specifically, I will discuss how the film can be seen as making an objection to the position held by Sidgwick (1907), who asserts that, positive states of consciousness, or, pleasure, is ultimately the only thing inherently valuable, which in turn becomes the basis of utilitarian ethics. The Matrix should be considered as the cinematic adaptation of Robert Nozick's (1974) 'experience machine' thought experiment, which the film-makers bring to life, developing it into a narrative which pulls heavily on our moral emotions. However, although the film-makers skilfully elicit the appropriate emotional responses from the viewer to ensure successful

The light is supposed to let the reader see that the guard is corrupt when he should be a loyal and an example to the community.

The skaters and workers become free during the night as the day robs the working class of freedom. They have control in the night, with the lantern symbolising the limited power that they control in order to see where they are going and extend their boundaries. It is their agency of power and identity.

Moore switches between the colour camera and the black and white CCTV footage very effectively. The use of CCTV makes the sequence feel more personal and distinctive. Bright, intense illumination is used to highlight the shooters on the CCTV footage. The footage also corresponds with the emergency calls, because when the teachers and witnesses telephoned the emergency services they were talking as if in a haste and we can see why on the CCTV footage.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

The Matrix starts off with a computer screen showing that a phone call is being traced. You can hear someone talking about “The One.” Cops start to descend on the room where the call is being made. The cops find Trinity in the room, a renegade computer hacker.