Analysis Of Jean-Luc Godard's Alphaville

     Poets have often used symbols to convey deeper messages that they were either too afraid or felt that normal language lacked the power to express. Often when a symbol is used, the reader digs deeper into the issue more than if the message was simply shot out in the open. These symbols and metaphors can be used to portray beautiful things, or could be used to create a more compelling argument in a more subtle way.

In both Bradbury’s Fahrenheit 451 and Vonnegut’s “Tomorrow and Tomorrow and Tomorrow”, the authors show major concerns about the future. Bradbury’s major concern is the misuse of technology that leads to the corruption of society while Vonnegut’s major concern is overpopulation and the lack of natural resources for the future. Both authors show concerns that can turn out to be real if people do not do anything about the environment and about technology.

In her introduction, she explains to the reader that “all science fiction is nothing but a metaphorical lie” and “The future, in fiction, is a metaphor.” (Le

Popular fictions texts expressing views of the future educate audiences about current issues and the dystopias that develop from them. Texts such as the film ‘Gattaca’, directed by Andrew Niccol and novel ‘Fahrenheit 451’ by Ray Bradbury explore futuristic societies and the implications that become of their innovation. Although entertaining, texts such as these are didactic and must be taken seriously, as they communicate messages to audiences regarding prevalent concerns and possible futures based on society’s choices.

In 1982, Scott directed what is considered the most accurate mirror of our current society with his movie Blade Runner, influenced by Dick’s novel Do Androids Dream of Electric Sheep. The screenplay covers many common philosophical dilemmas; including but not limited to genetic engineering and divine purpose. The setting is a futuristic city with closely resembles the twenty-first century. Further, the editing illuminates the dismal ambiance that corruption can trap people in.

A comparison of dystopian texts explores contemporary issues of society and integrates them into an alien world. The Handmaid 's Tale by Margaret Atwood illustrates the nature of society as far from ideal, and the destructive nature of oppression. Similarly, Gattaca by Andrew Niccol epitomises the characteristics of a dystopian text, by highlighting the subversion of natural processes, suppression of identity and oppression present in society. Both texts explore similar themes that reflect a society 's deepest fears to the audience- dehumanisation.

Huxley reflects the consequences of totalitarian World State, upon the concern of oppressed citizens. Provoked by Freud and with Mendel’s work on genetic engineering and consumerism early 20th century, Huxley chose a science fiction medium to warn the audience as they venture into the political beliefs and attitudes of the World State and identify its dehumanising effects. The imperative verb, ‘unescapable’ as Huxley states “All conditioning aims at…making people like their unescapable social destiny” (Ch 1) illustrates the loss of freedom due to scientific means which have constrained them into accepting the ideology taught by the World State. Huxley provides ‘John the Savage’ a sense of freedom from the Mexican Reservation where he is given thought, emotions and choice. Although he exclaims “How beauteous mankind is!” in the metaphorical “O brave new world” (Ch8) compared to the Reservation’s society, after seeing the oppression and nothingness of the World State he feels the oppression. This is stressed by the asyndeton of his desires using the personal pronoun ‘I’ in “But I don’t want comfort. I want God, I want poetry, I want real danger, I want freedom, I want goodness. I want sin” (Ch 17) as John identifies the powerlessness and mindlessness of the citizens. Though Huxley through John’s anti-thesis “I’m claiming the right to be unhappy.”

‘Blade Runner’, the film adaption, directed by Ridley Scott in 1982, of the 1968 novel ‘Do Androids Dream of Electric Sheep?’ by Philip K. Dick. This essay will explore the meaning of the Tyrell slogan “More human than human” by following Deckard on Earth in Los Angeles 2019 as a futuristic, dark and depressing industrial metropolis by looking into and discussing what is real and what is not, the good and the bad and why replicants are more appealing than humans. This essay will analyse and pull apart the “Blade Runner’ world, the condition of humanity and what it really means to be human.

Having spent one’s entire childhood through war and bombings can inspire many ideas, both positive and negative. From the fear of a nuclear bomb to the proud feeling of witnessing the first American man on the moon, Ray Bradbury took his experiences during World War II and the International Space Race and transformed them into literary pieces, such as “There Will Come Soft Rains”, “The Sound of Thunder”, and “The Pedestrian”. In these short stories, Bradbury includes elements of his own life into the plot, creating a message of caution to the readers through his riveting genre of dystopia. Some topics he stresses include time, technology, and its possible threats to human interaction. Through Bradbury’s unique style, he encapsulates the major issue of the rapid development in society and how it affects people in a social aspect. As new technology and science is innovated, there are many people who debate whether or not it can have harmful side effects to mankind. Among these three short stories, Bradbury uses the stylistic techniques of diction, imagery, and figurative language to convey that as society progresses through time, people lose their sense of humanity.

Throughout this semester our literary material dealt with themes of technology, modernization, the imponderable bloom, human nature, and truth to name a few of the most overarching. Each text has woven an impression of the possible near future for humanity if the patterns we are creating continue at an exponential rate. Patterns such as consumerism, neglecting unpleasurable emotions, using drugs, and controlling the environment for our short term benefits will write an unsavory and inevitable future. Science Fiction often reflects on society by exaggerating their negative characteristics and advancements to seem far-out, but often it is ironic how close many aspects of the fiction are a direct reflection of the present condition. Even now, the possibilities of utopias and dystopias forming are not so out of reach. The ability of our culture to control an entire population with a self-satisfied culture of vices outfitted with technology is less and less science fiction as the years pass.

The French New Wave, or Nouvelle Vague, is among the most revolutionary film eras in the history of cinema. Spurred as a result of major shifts in economic, social and technological norms within post-WW11 France, the New Wave conceived a renewed mode of expression across various creative industries. Francois Truffaut’s The 400 Blows (1959) and Jean-Luc Godard’s Breathless (1960) are two films, which despite major disparities, would go on to exemplify integral characteristics of the movement in the following years. Perhaps, the best way to truly appreciate the fervor of New Wave cinema is to examine the context of its inception. Both the stylistic and thematic qualities of French New Wave works directly reflect the implicit values, virtues and vices possessed by the emerging youth culture of the late 1950s, which consequently posed a fundamental challenge to the institutions, ideas and attitudes of the past.

Action-packed and highly-rated, Mad Max: Fury Road is a critically-acclaimed film about a journey of survival through a post-apocalyptic wasteland. There is no doubt that post-apocalyptic films are becoming increasingly popular among audiences as seen with movies such as the Hunger Games. However, Leggatt (2012) describes another variation in the post-apocalyptic genre, one that has been dubbed post-9/11 after a string of patterns prevalent in some post-apocalyptic films. Leggatt’s definition of post-9/11 apocalyptic films are ones that have a pessimistic tone towards the future of a society. As the world evolves and progresses, many new issues overlap and outgrow previous issues that have plagued the world before - though this transgression, the film industry follows suit in order to invent stories and media that is thought-provoking and relevant to changing society. Mad Max: Fury Road (2015) is a film that encapsulates many elements of Leggatt’s post 9/11 apocalypse film genre through the apocalyptic setting, derailment of redemption, and societal obsession with apocalypse over utopia.

The good thing about films is that we not only have the opportunity to choose from a wide selection of different genres, but also compare them and understand their purpose in the world. The Horror genre has used the basic principles throughout time, and as a result, films of this type have not proven to be as timeless as another genre: Science Fiction/Fantasy. At first, these two genres might at times seem similar as they have at several occasions been blended together, but their basic, common theme serves different meanings about humans. I shall compare and contrast these two genres and focus on both classic films and modern films. From the Horror genre perspective I shall discuss Psycho (1960) and The Mist (2007), while in the Science Fiction/Fantasy genre I will examine 2001: A Space Odyssey (1968), Pan’s Labyrinth (2006), and Serenity (2005). Although the Science Fiction/Fantasy genre and the Horror Genre share some similarities, the differences lie in their focus on human progress.

In The Stranger, Albert Camus allows the main character to tell the story in order to give the reader an experience of his own. Obviously, with a novel also comes language, which Camus incorporates cleverly as a way to indirectly illustrate Meursault’s thoughts about certain situations. Although the novel represents a postmodern setting, the author shifts the overall meaning. In The Stranger, Camus applies a unique literary style as a power that deflects blame from Meursault, the antiheroic character. In order to disclaim the fault of Meursault, Camus incorporates several instances in which he leaves a greater sense of authority to nonliving objects, while further drawing attention away from the main character. Based on the implication of

Most of the science fiction works contain a crucial message that the writer wishes to convey to the viewers. There are two categories of film message, one is positive and the other is negative. A positive message is one that is expected to have favourable outcome to the audience, and continuously aiming to promote better societal changes. In contrast, a negative message is one that could deliver threats or unpleasant information to the audience, which could have significant impact on the normal order of the society. This essay will argue that if the message contains positive elements, then it is not a bad sign to embed science fiction works with a message. First, this essay will suggest that the well-integrated message within a particular