Summary Of The Film Irobot

Science fiction is a genre of film that had the most “out there” storylines and slowly became a strong building block to the most iconic movies and characters that has appeared in a film. A lot has changed since Georges Melies’ story of lunar travel where a man meets a race of selenites and escape back to earth inside a rocket in the film Le Voyage Dans La Lune to the story of a man saving the human race from a famine by travelling through a wormhole to another planet that can support the human race in the story Interstellar written by Christopher Nolan. Science Fiction has become one of the top grossing film genres accumulating nearly 9 trillion dollars ($8,932,256,387) worldwide. In the future moviegoers will witness filmmakers push the boundaries for what the general public will recognize as “Science Fiction”. One of the interesting discoveries we made was that the “mid-future” (50-150 years in the future) is one of the most popular time periods when being used in the genre. With advances in technology it is very hard not to see the progress that these films have become and eventually will

Andrew Stanton’s film Wall-E paints a future where humanity has destroyed the Earth through its apathy for caring for the Earth. Instead of staying to fix the planet, or trying to stop the destruction before it gets too great, humanity chose to leave the planet and let specially designed robots clean up until they could return. On the ship, Axiom, humanity has become so dependent on technology that they no longer connect with other people, and instead live in a world of virtual connections instead of physical ones. Stanton effectively uses the conventions of a science-fiction film to respond to cultural fears and anxieties, blends with the romantic comedy genre, and shows how negatively technology has effected humanity in order to give commentary

The 1999 film ‘The Matrix’, directed by the Wachowski Brothers, tells the story of a computer-generated world in which humans are used as batteries to power the matrix’ systems. The film focuses on a small team of humans who are fighting against the matrix. There are several themes in this film and many of which are suggested through the ‘material body’. The material body is made up of four key elements- cinematography, mise-en-scène, editing and soundtrack. These elements are crucial to the audience’s understanding of the narrative and the director’s intended meaning. The ‘Two pills” scene is a good example of how the material body can be used to analyse the presentation of characters and the narrative.

There are firmly established archetypes in the Science Fiction genre of literature. The dystopian motif is a frequently used one, predictably creating a parallel world much like our own, except major scientific advancements threaten the human desire for individuality. Deconstructing this well-known archetype, Kazuo Ishiguro represents technology as an organic part of our everyday lives and redefines the relationship it has with individuality.

Consider the character of Carl in the film “Yes Man”. Carl joins a unique group who are committed in saying the word ‘yes’ to every situation. This, in essence, forms his new personality and by this he forms a greater sense of exploration. “The world's a playground. You know that when you are a kid, but somewhere along the way everyone forgets it”. In addition to this, by gaining a sense of individuality we venture away from the notions of normality and apprehend a further extravagant social experience. This is manifested in the novel ‘Bombshells’, as Zoe indicates a greater sense of individuality then most characters in the novel, and by her own venturing of various experiences, she has developed a greater exploration of life. “I’m really très chère; I’m a dame with charisma to spare”. So, in conclusion, we define who we are by our own sense of individuality and exploration.

The following essay will be a close analysis of an extract from the 1982 film Blade Runner, which was directed by Ridley Scott. Blade Runner is a science-fiction film based on the book ‘Do Androids Dream of Electric Sheep’ which was written by Phillip K. Dick. This essay will also explore how Ridley Scott’s use of mise en scene and editing in Blade Runner can exhibit him as an auteur. An ‘auteur’ is known as the ‘author’ of the film; a director that uses recognisable

Culturally this view has been expressed in many forms of media like films or books where humans are manipulating the essence of life and manufacturing it into a product like conscious robots that have consequently caused havoc in the world and I feel that those films are a dire foreshadowing of what is to come if science continues to experiment in areas like

Science fiction’s presence in film is nearly as old as film itself. With humble beginnings, film pioneers such as the French George Méliès set the genre in motion. At first, simple pastiches to Jules Verne pervaded, whether it be adventurous astronauts on a trip to the moon or the maiden voyage of a (then) futuristic airship. Then, come the German avant-garde, the expressionist masterpiece Metropolis proved that the science fiction film could go beyond the trivial and occupy a place of legitimate artistic worth. Metropolis also marks the first feature length film to feature a robot--though the word is never used. Instead, Maria is a Maschinenmensch, a machine-human, a being capable of labor and beauty, even of sexual enticement, but devoid

The combination of a sci-fi film and a dystopian is common in the film industry. The Matrix (1999), quite possible the most successful and popular mix of both these genres in todays' industry, which was also rated the 4th highest sci-fi movie holds common traits with the plot of ASYLUM, demonstrating the success of ASYLUM in targeting common and effective sci-fi trait in film. ASYLUM's portrayal of an overly technologically advanced setting mirrors not only the basic principle of The Matrix, but the philosophical background that has the viewer questioning what is right and wrong similar to The Matrix's “cinematic fusion of philosophical, literary, and spiritual allusiveness” (Greydanus

Art has always been, and always will be, our most instinctual way of producing visual adaptions of our inner fantasies. Imaginings that are based on what is real, but appear to belong to another place entirely. One of the most engaging of art forms in which we do this, is film. Its ability to recreate the impossibilities of our imagination, in a way that is realistic and believable, is one that is hard to replace within the genres of science fiction and fantasy. A classic example of such a film is ‘The Matrix’ a science fiction masterpiece directed by The Wachowski Brothers. Released in 1999, the film has an extreme amount of depth not only in its storyline, but in its innovative use of visual effects and camerawork. Therefore in this essay I have decided to critically examine the underlying thematic content of ‘The Matrix’, and the way in which the use of visual effects and cinematography contributed to the execution of its intricate dystopian narrative, and the themes present within it.

In an age of information--where identity reads through social media feeds in snippets of thought and image, Alex Garland’s 2015 ‘Ex Machina’ asks the crucial question: what views us, and in what way are we being viewed? From the opening vignette, the protagonist Caleb presents under the view of his computers own camera. From this perspective the central drama of the man-machine interface unfolds. Whisked away to an isolated locale—set amidst nature, the confrontation with man’s own dream of a conscious and aware machine occurs through descent: katabasis to the shadows of Plato’s cave. Descent into a subterranean lab, descent into human nature: reason,

More so, his friend, Jem, is also pirate that can share his exploits in making a mockery of the “ownership” status of film studios. The political aspects of Trent’s threat as a person who believes that all stories are part of a collective sharing of ideas in modern technological culture. In Adorno and Horkheimer’s (1944) interpretation of this type of tyrannical system of capitalism, it is apparent that Trent poses a challenge to what is produced by the film studios: “No independent thinking must be expected from the audience” (para.43). In contrast to this method of systemic production, Trent decides to expand upon the collectivist meaning of stories as a way of breaking down the limited variety that is produced in the for-profit system of filmmaking. Certainly, Trent is aware that the “originality” of stories is questionable, but he accedes to the fact that no single person or corporation can “own” an idea. This conundrum of the capitalist system defines the underlying mechanisms of production that the film industry employs to control profits and to ensure that certain ideas in the marketplace continue to bring regular income streams. These are important aspects of

There is more to movies than pure visual quality and simple, predictable plots. While a movie may be able to appeal to masses of people with pure visceral quality, most quality movies have more in the way of character interaction and establish of an environment that suits the movie. There are many qualities to judge a movie by, but it is best to find qualities that certain movies share in common to best judge the two. The three movies being compared and contrasted in this paper are The House of Games, Blue Velvet, and The Unbearable Lightness of Being. To best analyze these movies, they will be looked at from three viewpoints: their use of both physical and emotional relationships, their use of surrealism, and their use

The script is driven by the theme of second chances. It also examines the man vs. machine premise. Ironically, due to social engineering, the humans have become more robot-like, suppressing their emotions, while the android featured in the script, is almost more human than the real humans. It’s a clever contradiction.

According to Adorno and Horkheimer anything that is found within the ‘culture industry’ is similar to one another (34). What can be concluded from the argument is that many of the ideas that are presented on screen through various types of media are that the same ideas and aesthetic is repeated constantly. By looking at the example of the films produced in today’s society it is easy to believe Adorno and