As the camera pans across a futuristic Los Angeles, the oppressive cityscape is reminiscent of Fritz Lang's iconic Metropolis, where the ubiquitous technological city is as much a machine as the people in it. This is enforced as the camera moves towards the Tyrell Corp's headquarter pyramid, similar to some of the buildings of importance in Metropolis. Much of this futuristic mise-en-scene has been paralleled with Metropolis, but another interesting connection to be made is that between Racheal, the fabricated woman of importance to the main character Deckard, and the object of Rotwang's desire in
Anah Chapman Rhetoric Analysis March 2nd, 2015 “Insatiable” Dark, contrasting colors, striking images, and thoughtful placement are just a few of the deliberate elements that make “Insatiable” a wonderfully crafted, and undeniably thought provoking piece. Theodore Bolha and Chris Davis have come together to put a spark in our minds with their earnest piece named “Insatiable”. Originally used as cover art for a documentary that they had worked on, End:Civ, which explores the relentless industrialization we have unleashed on the world, has now reached far beyond the dimly lit room of any home theatre. Somewhat viral on the internet, tracking down the original creators was no easy feat, but an invaluable one nonetheless. I was lucky
This is demonstrated through the questionable policies such as Brinkmanship, Massive retaliation, and how the culture of paranoia and secrecy caused both sides to constantly create more nuclear weapons to feel protected against the other side. The role of each side reacting to the other during the nuclear arms race proved to be a threat to world peace. One crucial feature of the race was the difference between what each side perceived of the other, and what the actual reality was. It is clear that mutual over estimation of each side’s capabilities led to an environment in which the usual mood was to increase their own arsenal, based on the assumption that the opposing side was superior. This resulted in a reaction from the other side on the assumption that the opposing side was building up to gain a measure of superiority.
He uses satire in his film to raise issues pertaining to the control of guns in America and find out the reasons why there is so much violence in America. He does this by exploring the American culture and history of violence, the unjustified white fear of blacks and the lack of justification for gun ownership. Moore believes that America has been responsible for a large number of wars and violent incidents around the world, culminating in the terrorist attacks on the World Trade Centre on September 11, 2001. He uses the What a Wonderful World montage to prove that Americans do not use weapons in self-defence, as some would argue, but use weapons aggressively. Just before the sequence of revealing images, Moore is shown conducting an interview with Evan McCollum, Director of Communications at a Lockheed Martin plant near Columbine, who says, “But we have to learn to deal with that annoyance or that anger or that frustration in appropriate ways.
Consequently, the nature of humanity and scientific progress are reflected through literary and filmic techniques, addressing the exploitation of mankind’s progress and ultimately questioning what it means to be human. By reflecting on their respective social and technological milieus, Shelley and Scott depict the detrimental repercussions of artificial construction through the parallels in ‘Frankenstein’ and ‘Blade Runner.’ In particular, the turn of the 19th century saw the fascination with Galvanism, regarding the animation of animal tissue through electricity, inciting Shelley to confront this ideology based on a ‘life force’ that would infuse life in an inanimate object. Through the first person perspective, responders are exposed to Victor Frankenstein’s obsessive behaviour in overcoming the metaphysical boundaries of ‘life principles’. Thus, by metaphorically ‘pursuing nature in all her hiding places’, Shelley questions the implications of synthetic formation through her use of a contemplative tone in acknowledging the ‘astonishing power placed within [his] hands…and the manner in which I should employ it’. She answers this through her
“Gojira”, directed by Ishiro Honda, was created in the realm of this era, sending a message to the world regarding the buildup of nuclear arms. Many different debatable interpretations of this film exists, each implying a unique moral that Honda intended to incorporate into his film. However, each scenario supports the fact that it was envisioned as an anti war film by it’s creators. One common interpretation for the film is that Godzilla himself represents the United States atomic bombs. According to Roberto, there are two distinct pieces of evidence that lead the audience to see this light.
The use of combat has been a strong theme in film throughout time and functions to portray ideological beliefs of society. In both Temple of Doom and Gladiator, Lucas and Scott respectively portray concepts about American imperialism and fascism and how the use of spectacle and combat affects each concept. Each film also represents contemporary society through these concepts and attempts to alter society through ideological characters. Temple of Doom and Gladiator are direct reflections of opinions of Lucas and Scott on events in American culture and on society’s negative ideological believes with their use of imperialism, fascism and patriarchy through combat. Temple of Doom is seen as a racist film by its portrayal of Indiana Jones as an ideological figure of American imperialism.
Individual power can be taken away through the use of a strong military styled force. This idea is expressed in the passage; “If you want a picture of the future, imagine a boot stamping on a human face ― for ever”. In Nineteen Eighty-Four, Orwell uses the patrols to create a deeper sense of fear in the reader. In today’s society, the thought of being constantly is a frightening one. Orwell uses a simile; “hovered for an instant like a bluebottle” to suggest that the police patrols were of serious threat.
A utopia, or perfect world, gone awry is displayed in Aldous Huxley’s provocative novel Brave New World. Dystopia is drawn on "political and emotional events, anchoring its vision of a nightmarish future in contemporary fears of totalitarian ideology and uncontrolled advances in technology and science" (Baker 22). It is the situation that costs a piece of an unhealthy environment for human beings, is the theme of the novel. The dystopian setting is brought about by technology and by higher authorities. As technology increases, the use for human beings in the work force decreases leaving an overwhelming amount of depression among humans.
Based in modern day Los Angeles where stereotype, reality and irony are very prominent. We were introduced to a unique and personal view of everyday life in today’s society; from different views and standpoints based on the personalities and how they intermingle within each other. In 2005, Paul Haggis presented us with an exceptional film encompassing mise-en-scene and cinematography, with a theme based on racism; metaphorically entitled Crash. In the following two scenes; Haggis uses mise-en-scene to portray the stereotypes of the characters own individual race. In the first scene, an upset, white; Officer Ryan pulls over a Lincoln Navigator thinking he saw a white woman performing a lewd act on the black driver.