Comparison and Contrast- The Matrix and Harrison Bergeron- Hero Stages The Matrix, written and directed by the Wachowski Brothers, and Harrison Bergeron, written by Kurt Vonnegut, share a variety of similarities and differences. Both of these works follow Joseph Campbell's Hero’s Journey in different ways and depicts a corrupted future. The Matrix is a ‘false reality’ initially created to be a perfect world for humans to reside in while the story, Harrison Bergeron, depicts a world in which people are forced to wear transmitters, sacks of birdshot and masks to coat their extraordinary gifts. This world is controlled by a government who believes that lowering talented people's intelligence, beauty and athletic skill will make everyone feel equal. A few common themes shared between both of these works is the idea of freedom and control.
Tv/ media is also a frequent motif throughout and it’s appearance draws our attention to the importance of media in controlling and convincing people. Yes, people are willing to submit to government. Even George, who is intelligent, is a law abiding citizen when it comes to removing weights from himself, even when the reader is led to believe that if not for his handicap and the grip of government control that he would ultimately come to the conclusion that the system is flawed. The idea of equality which is spread through the powerful tool that is the media, practically brainwashes people into tolerating the misery that is a world without good music, art, dance, ect. and constant physical and mental discomfort.
Visual, kinesthetic and olfactory. Chief refers to the asylum as a combine. This is Chief’s word to describe the system that is at work in the asylum. A machine-like nature. He states “it’s not just the asylum that’s governed by this machine—it’s the entire world(One Flew Over The Cuckoo's Nest by Ken Kesey).” Another way of symbolism would be “The Fog.” According to Chief, this fog clouds our vision of the real world.
The artistic choices made in the production of cinema have a great impact on the way the audience will perceive certain aspects of the performance. One director may choose to highlight a certain scene, while another director may push it aside as trivial. A majority of the symbolism behind theatre lends itself to open interpretation, but some underlying messages have a widely accepted truth. In Nicholas Hytner’s 1996 interpretation of Arthur Miller’s The Crucible, lighting and camera angles help accentuate the importance of particular moments throughout the film. I chose to analyze the courthouse scene in which Deputy Danforth asks Elizabeth whether or not John Proctor committed the crime of adultery.
Asma shows that his article was written for an educated or specialized audience by his continual use of complex vocabulary, as well as the place of which the article was first published. Asma did an excellent job convincing his audience using emotion, logic, and ethics. Besides his use of logic, there is a large amount of pathos in his writing, which makes the reader perceive that he is writing to a skeptical audience. For example, describing how in modern films, such as Frankenstein, “we dramatize the rage of the monstrous creature…then scold ourselves…[for being an] intolerant society”(61). “The liberal lesson of monsters
For their dystopian ideas they both made them having some kind of rebel, who believes in more than just black and white or normal. They saw more to life and tried to make it better. The movie “The Giver” and the book “Anthem” both had a dystopian lifestyle, because they both had rules to follow and was under control by the upper class. The book “Anthem” by Ayn Rand was a good book. This book was all about a lie of a life.
Fear mongering was a typical practice of McCarthyism, and this is precisely what can be found throughout Bradbury’s story. The story does not limit itself to warn society about the dangerous of irresponsibly pursuing technological innovation, but goes above and beyond to intimidate and scare the public into resisting the natural progression of scientific pursuits and technological innovation. This is perhaps most clear when observing the manner in which the story presents a future in which the world has been utterly destroyed and the only remnants of nature comes from automated machinery. In the house presented in the story, robot mice did the cleaning and even while the house burned these robot mice attempted to clean: “In the last instant under the fire avalanche, other choruses, oblivious, could be heard announcing the time… a scene of maniac confusion, yet unity; singing, screaming, a few last cleaning mice darting bravely out to carry the horrid ashes away!” (Bradbury 106). Natural instinct would dictate for animals and for humans to flee in search of survival.
The film, Crash, emphasizes the differences of cultures and classes. It focuses on the reality that we are all individuals and that adaptation of the human condition is hopeless. That the need to compete and the desire to win are more important than the justification for human decency. The tension of social and racial tension throughout this film I believe widens the chasm of discussion. I believe this because this film can be interpreted differently by individuals.
Without the special visual aid and focus on the eyes, the contrasting portrayals of the (assumed) humans versus replicants in the story would essentially be lacking and non-distinctive; therefore, the rampant eye symbolism becomes extremely effective and usefully serves as a visual and metaphorical device for various events within the storyline. Connecting back to the introductory scenes, the first characters we see are Dave Holden and Leon. Dave Holden is a blade runner who identifies, hunts, and "retires" (kill) replicants who have arrived on Earth illegally. The identification process acts as Holden’s assignment to test replicants at the Tyrell Corporation who infiltrate the company in the hopes of extending their four-year lifespans. Holden operates polygraph-like machine called the Voight-Kampff to test an individual’s level of empathy in order to differentiate humans from replicants.
Because the editing in Queen of Versailles so frequently emphasizes the negatives of the Siegel family’s lifestyle, the notion of ethics comes into question. Throughout the film, the idea of power comes into question in that it is understood by the audience that the filmmaker has control due to their access to media institutions and power over the documentary images and ideas presented (Nash 2011). This causes the question of whether the