Let-Down of the Year Awarded to “Matrix Revolutions”
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The Making of Enter the Matrix
TWO MOVIES. ONE “THEN ALONG COMES THE WACHOWSKIS AND ANIMATED ANTHOLOGY. THEY WANT TO SHOOT AND THE MOST EXPENSIVE AN HOUR OF MATRIX LICENSED VIDEOGAME QUALITY MOVIE FOOTAGE FOR OUR EVER MADE. SEVENTEEN GAME – AND WRITE YEARS AFTER ITS ORIGINAL THE ENTIRE STORY” RELEASE, WE EXPLORE DAVID PERRY HOW ENTER THE MATRIX TRIED TO DEFY TRADITIONAL VIDEOGAME STORYTELLING BY SLOTTING INTO A WIDER TRANSMEDIA EXPERIENCE Words by Aaron THE MAKING OF Potter ames based on a licence have been around almost as long as the medium itself, with most gaining a reputation for being cheap tie-ins or ill-produced cash grabs that needed much longer in the development oven. It’s an unfortunate fact that, in most instances, the creative teams tasked with » Shiny Entertainment founder and making a fun, interactive version of a beloved working on a really cutting-edge 3D game called former game director David Perry. Hollywood IP weren’t given the time necessary to Sacrifice, so I very embarrassingly passed on the IN THE succeed – to the extent that the ET game from 1982 project.” David chalks this up as being high on his for the Atari 2600 was famously rushed out by a “list of terrible career decisions”, though it wouldn’t KNOW single person and helped cause the US industry crash. be long before he and his team would be given a PUBLISHER: ATARI After every crash, however, comes a full system second chance. They could even use this pioneering DEVELOPER : reboot. And it was during the world’s reboot at the tech to translate the Wachowskis’ sprawling SHINY turn of the millennium, around the time a particular universe more accurately into a videogame. -
BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix
ONE BEFORE THE 7 PHILOSOPHY UNDERSTANDING THE FILMS BEFORE THE PHILOSOPHY I’m really struggling here. I’m trying to keep up, but I’m losing the plot. There is way too much weird shit going on around here and nothing is going the way it is supposed to go. I mean, doors that go nowhere and everywhere, programs acting like humans, multiplying agents . Oh when, when will it end? – SparksE The Matrix films often left audiences more confused than they had bargained for. Some say that their confusion began with the very first film, and was compounded with each sequel. Others understood the big picture, but found themselves a bit perplexed concerning the details. It’s safe to say that no one understands the films completely – there are always deeper levels to consider. So before we explore the more philosophical aspects of the films, I hope to clarify some of the common points of confusion. But first, I strongly encourage you to watch all three films. There are spoilers ahead. The Matrix Dreamworld You mean this isn’t real? – Neo† The Matrix is essentially a computer-generated dreamworld. It is the illusion of a world that no longer exists – a world of human technology and culture as it was at the end of the twentieth century. This illusion is pumped into the brains of millions of people who, in reality, are lying fast asleep in slime-filled cocoons. To them this virtual world seems like real life. They go to work, watch their televisions, and pay their taxes, fully believing that they are physically doing these things, when in fact they are doing them “virtually” – within their own minds. -
Facing the Absurd Existentialism for Humans and Programs
TWELVE 150 FACING THE ABSURD EXISTENTIALISM FOR HUMANS AND PROGRAMS The Matrix cannot tell you who you are. – Trinity†† Man is nothing else but what he makes of himself. Such is the first principle of existentialism. – Jean-Paul Sartre FACING THE ABSURD Of Gods and Architects Søren Kierkegaard, whose existentialist philosophy of faith was discussed in the previous chapter, requested that just two words be engraved on his tombstone at his death: THE INDIVIDUAL. This gesture nicely summarizes the main thrust of the existentialist movement in philosophy – which both begins and ends with the individual. Existentialism focuses on the issues that arise for us as separate and distinct persons who are, in a very profound sense, alone in the world. Its emphasis is on personal responsibility – on taking responsibility for who you are, what you do, and the meanings that you give to the world around you. While Kierkegaard’s existentialism was largely inspired by his religious commit- ments, atheism was the guiding assumption for many existentialist writers, includ- ing Martin Heidegger, Albert Camus, and Jean-Paul Sartre. In Existentialism as a Humanism, the French existentialist Jean-Paul Sartre explained how his philo- sophy was intimately tied to his atheism through the example of a paper-cutter. [H]ere is an object which has been made by an artisan whose inspiration came from a concept. He referred to the concept of what a paper-cutter is and likewise to a known method of production, which is part of the concept, something which by and large is a routine. Thus, the paper-cutter is at once an object produced in a certain way and, on the other hand, one having a specific use . -
The Matrix Trilogy's Postmodern Movie Messiah
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 7 October 2005 He is the One: The Matrix Trilogy's Postmodern Movie Messiah Mark D. Stucky [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stucky, Mark D. (2005) "He is the One: The Matrix Trilogy's Postmodern Movie Messiah," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. He is the One: The Matrix Trilogy's Postmodern Movie Messiah Abstract Many films have used Christ figures to enrich their stories. In The Matrix trilogy, however, the Christ figure motif goes beyond superficial plot enhancements and forms the fundamental core of the three-part story. Neo's messianic growth (in self-awareness and power) and his eventual bringing of peace and salvation to humanity form the essential plot of the trilogy. Without the messianic imagery, there could still be a story about the human struggle in the Matrix, of course, but it would be a radically different story than that presented on the screen. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 Stucky: He is the One Introduction The Matrix1 was a firepower-fueled film that spin-kicked filmmaking and popular culture. -
Breaking the Code of the Matrix; Or, Hacking Hollywood
Matrix.mss-1 September 1, 2002 “Breaking the Code of The Matrix ; or, Hacking Hollywood to Liberate Film” William B. Warner© Amusing Ourselves to Death The human body is recumbent, eyes are shut, arms and legs are extended and limp, and this body is attached to an intricate technological apparatus. This image regularly recurs in the Wachowski brother’s 1999 film The Matrix : as when we see humanity arrayed in the numberless “pods” of the power plant; as when we see Neo’s muscles being rebuilt in the infirmary; when the crew members of the Nebuchadnezzar go into their chairs to receive the shunt that allows them to enter the Construct or the Matrix. At the film’s end, Neo’s success is marked by the moment when he awakens from his recumbent posture to kiss Trinity back. The recurrence of the image of the recumbent body gives it iconic force. But what does it mean? Within this film, the passivity of the recumbent body is a consequence of network architecture: in order to jack humans into the Matrix, the “neural interactive simulation” built by the machines to resemble the “world at the end of the 20 th century”, the dross of the human body is left elsewhere, suspended in the cells of the vast power plant constructed by the machines, or back on the rebel hovercraft, the Nebuchadnezzar. The crude cable line inserted into the brains of the human enables the machines to realize the dream of “total cinema”—a 3-D reality utterly absorbing to those receiving the Matrix data feed.[footnote re Barzin] The difference between these recumbent bodies and the film viewers who sit in darkened theaters to enjoy The Matrix is one of degree; these bodies may be a figure for viewers subject to the all absorbing 24/7 entertainment system being dreamed by the media moguls. -
Read Book the Matrix
THE MATRIX PDF, EPUB, EBOOK Joshua Clover | 96 pages | 12 Jun 2007 | British Film Institute | 9781844570454 | English | London, United Kingdom The Matrix – Matrix Wiki – Neo, Trinity, the Wachowskis And the special effects are absolutely amazing even if similar ones have been used in other movies as a result- and not explained as well. But the movie has plot as well. It has characters that I cared about. From Keanu Reeves' excellent portrayal of Neo, the man trying to come to grips with his own identity, to Lawrence Fishburne's mysterious Morpheus, and even the creepy Agents, everyone does a stellar job of making their characters more than just the usual action "hero that kicks butt" and "cannon fodder" roles. I cared about each and every one of the heroes, and hated the villains with a passion. It has a plot, and it has a meaning Just try it, if you haven't seen the movie before. Watch one of the fight scenes. Then watch the whole movie. There's a big difference in the feeling and excitement of the scenes- sure, they're great as standalones, but the whole thing put together is an experience unlike just about everything else that's come to the theaters. Think about it next time you're watching one of the more brainless action flicks If you haven't, you're missing out on one of the best films of all time. It isn't just special effects, folks. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. -
Matrix Reloaded Explained
Matrix Reloaded Explained Matrix Reloaded Explained The Matrix Explained 1 The Matrix: Reloaded Explained.........................................................................................................................1 1.1 Contents...................................................................................................................................................1 2 Forward on disobedience.......................................................................................................................................3 3 Foundation of criticism..........................................................................................................................................5 4 The Architect..........................................................................................................................................................7 5 The rave scene......................................................................................................................................................11 6 The Oracle.............................................................................................................................................................13 7 Agent Smith..........................................................................................................................................................15 8 Story arc................................................................................................................................................................19 -
The Matrix Revolution, Part I
The Matrix Revolution, Part 1 by Ben Sibelman with an excerpt from The Matrix and excerpts from two versions of The Matrix Reloaded script, by Larry and Andy Wachowski (Bold text in the excerpts indicates added material. Strikeouts and ellipses indicate skipped material.) Sources The Matrix transcript: http://www.ix625.com/matrixscript.html The Matrix Reloaded draft script: http://www.imsdb.com/scripts/Matrix-Reloaded,-The.html The Matrix Reloaded shooting script: http://www.horrorlair.com/movies/scripts/matrixreloaded.pdf The Matrix, its sequels, and all related characters, plots, images, and concepts are the property of the Wachowski brothers, Warner Brothers, and/or Village Roadshow Pictures. Consequently, this script cannot be used for commercial gain. It is free for your use and may be copied and distributed at will. SCENE 1 Total blackness. NEO (V.O. from the end of The Matrix) I know you're out there. I can feel you now. Down into the black screen comes a single column of glowing green symbols. It is quickly joined by many others as the camera closes in. NEO (cont’d) I know that you're afraid. You're afraid of us. You're afraid of change. 19 of the columns terminate in the letters of “THE MATRIX REVOLUTION.” The camera passes through the U, which extends back into a canyon of smaller symbols with gaps in its walls. 1 NEO (cont’d) I don't know the future. I didn't come here to tell you how this is going to end. I came here to tell you how it's going to begin. -
Born to Be On-Line: Cyberpunk, Cyborgs and the Matrix Trilogy
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi 2006 / Cilt: 23 / Say›: 1 / ss. 257-267 Born to Be On-line: Cyberpunk, Cyborgs and the Matrix Trilogy Kader YILMAZ* Abstract Films of science fiction, such as The Matrix (1999), and its sequels The Matrix Reloaded (2003) and The Matrix Revolutions (2003), are often categorized as cyberpunk which is a subgenre of contemporary science fiction. As typical examples of this type of science fiction, The Matrix and its sequels illustrate the concern of cyberpunk to envision a near future world where information technologies reign supreme, and shape the lives and affairs of societies including the lives and the very existence of individuals. More specifically, The Matrix trilogy depicts a future world that is populated with cyborgs, or posthumans, and run by a globally networked artificial intelligence called the matrix. In this respect these films do not only speculate on a highly technological near future but also on mankind`s changed existence in this environment. Especially, the image of the cyborg serves as a means to address the issue of the human and machine interface in these films. More importantly, the cyborg, or the post-human, in The Matrix and its sequels is not only emblematic of the human and machine interface but also of man’s very dependence on this technology as a means to survive in a highly mechanized environment. This paper argues that The Matrix and its sequels subvert the man vs. technology dichotomy and speculate on the altered existence of humans by envisioning and affirming the coexistence of man and the machine in the near future. -
Ghost Guerriero Zen
Ghost: guerriero zen e portavoce delle idee filosofiche dei Wachowski A discapito di quello che comunemente si possa pensare, Enter the Matrix, per la sua funzione propriamente integrativa alla trilogia, consiste in uno dei capitoli più importanti dell’universo Matrix, difatti molti degli aspetti affascinanti, tra i quali spicca la caratterizzazione di uno dei personaggi più misteriosi dell’intera vicenda, ossia Ghost, sono interamente ed elusivamente affidati a questo videogioco. Ghost il fantasma È ormai risaputo che i nomi assegnati a ciascun personaggio della saga, anche quelli più insignificanti, celano un significato più o meno recondito, e nel caso di Ghost diviene piuttosto facile da intuire. Difatti lo spettatore che non va oltre la visione di “The Matrix Reloaded” non ha la più pallida idea di chi possa essere, ed anche per quanto riguarda le vicende narrate in “Enter the Matrix” solitamente egli svolge un ruolo di “copertura” nei confronti di Niobe. Se si tiene conto, inoltre, che due delle scene di “Enter the Matrix” che ci forniscono importanti informazioni su questo personaggio, e cioè le quelle dell’incontro con Persephone e l’Oracolo, sono da considerarsi parallele e quindi precluse dalla trama principale, che invece prevede Niobe al suo posto, diviene palese come questo personaggio si manifesti esclusivamente come “fantasma”. Ghost quindi personaggio fantasma, in quanto è presente ed agisce, ma sempre nell’ombra. Nonostante ciò, la caratterizzazione del personaggio risulta tutt’altro che superficiale… Ghost guerriero zen Che Ghost si rifaccia all’antica disciplina zen è piuttosto chiaro, e la cosa la si può facilmente intuire osservando l’ambientazione del suo personale programma d’allenamento, che infatti riproduce il caratteristico “giardino di rocce” zen giapponese: 1 Ma questo suo “essere zen” va ben oltre… Centrale nell’insegnamento zen è l’importanza di una ferrea disciplina, necessaria per poter praticare una meditazione che porti all’illuminazione, considerata come il supremo stato della conoscenza e dell’esistenza. -
Nick Fury, Will Smith, and Other Black Authority Figures Breaking the Racial Contract in Popular Films of 2000-2015
The University of Southern Mississippi The Aquila Digital Community Master's Theses Spring 5-2017 Nick Fury, Will Smith, and Other Black Authority Figures Breaking the Racial Contract in Popular Films of 2000-2015 Solai N. Wyman University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Film and Media Studies Commons, and the Political Science Commons Recommended Citation Wyman, Solai N., "Nick Fury, Will Smith, and Other Black Authority Figures Breaking the Racial Contract in Popular Films of 2000-2015" (2017). Master's Theses. 292. https://aquila.usm.edu/masters_theses/292 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. NICK FURY, WILL SMITH, AND OTHER BLACK AUTHORITY FIGURES BREAKING THE RACIAL CONTRACT IN POPULAR FILMS OF 2000-2015 by Solai N. Wyman A Thesis Submitted to the Graduate School and the Department of Political Science, International Development, and International Affairs at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved: ________________________________________________ Dr. Allan McBride, Committee Chair Associate Professor, Political Science, International Development, and International Affairs ________________________________________________ Dr. Marek Steedman, Committee Member Associate Professor, Political Science, International Development, and International Affairs ________________________________________________ Dr. Joseph Weinberg, Committee Member Assistant Professor, Political Science, International Development, and International Affairs _______________________________________________ Dr. Edward Sayre Chair, Department of Political Science, International Development, and International Affairs ________________________________________________ Dr. -
The Matrix: Unloaded Revelations
CHRISTIAN RESEARCH INSTITUTE P.O. Box 8500, Charlotte, NC 28271 Feature Article: DM820 THE MATRIX: UNLOADED REVELATIONS by Brian Godawa This article first appeared in the Christian Research Journal, volume 27, number 1 (2004). For further information or to subscribe to the Christian Research Journal go to: http://www.equip.org SYNOPSIS Everyone who has seen The Matrix trilogy knows that it presents a religious/philosophical worldview; what that worldview is, however, is a matter of debate. Some have argued it is Christian; some, Platonic (the philosophy of Plato); others, Gnostic (a Christian heresy); and still others, Buddhist. The films seem to use a combination of all of the above as metaphors for a postmodern worldview that deconstructs universal “savior” mythology into a Nietzschean “superman” philosophy in which one creates one’s own truth in a universe without God. In Nietzsche’s philosophy, our perceptions of reality are illusory (the theme in The Matrix) because they are part of the mechanistic determinism of nature (the theme in The Matrix: Reloaded). We must, therefore, create our own “new truth” through our human choices and beliefs (the theme in The Matrix: Revolutions). This worldview, however, is diametrically opposed to Christianity; hence, any similarities between themes or characters in The Matrix trilogy and orthodox Christianity are merely superficial. “To be truthful means using the customary metaphor — in moral terms: the obligation to lie according to a fixed convention, to lie herdlike in a style obligatory for all.”1 — Friedrich Nietzsche Mythologist Joseph Campbell sought to bring to light what he called the “monomyth,” the universal heroic journey common to all religions, which resides in the collective unconscious of humanity.