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Carregando... The Matrix (Bfi Modern Classics) (edição: 2005)de Joshua Clover
Informações da ObraThe Matrix (BFI Modern Classics) de Joshua Clover
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The Matrixnbsp;(1999) was a true end-of-the-millennium movie, a statement of the American Zeitgeist, and a prognosis for the future of big-budget Hollywood filmmaking. Starring Keanu Reeves as Neo, a computer programmer transformed into a messianic freedom fighter,nbsp;The Matrixnbsp;blends science fiction with conspiracy thriller conventions and outlandish martial arts created with groundbreaking digital techniques. A box-office triumph, the film was no populist confection: its blatant allusions to highbrow contemporary philosophy added to its appeal as a mystery to be decoded.nbsp; Joshua Clover undertakes the task of decoding the film. Examiningnbsp;The Matrix's digital effects and how they were achieved, he shows how the film represents a melding of cinema and video games (the greatest commercial threat to have faced Hollywood since the advent of television) and achieves a hybrid kind of immersive entertainment. He also unpacks the movie's references to philosophy, showing hownbsp;The Matrixnbsp;ultimately expresses the crisis American culture faced at the end of the 1990s.nbsp; Não foram encontradas descrições de bibliotecas. |
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 Google Books — Carregando...GênerosClassificação decimal de Dewey (CDD)791.4The arts Recreational and performing arts Public performances Film, Radio, and TelevisionClassificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia: (4.18)
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The first third of Clover’s book is pretty good as he reviews a short history of turn-of-the-millennium media recognizing the transition from looking “into” a world to looking “around” a world. It’s A Wonderful Life give us a look at any small town in America in 1948, but The Godfather just three decades later is a specific world unknown to it’s viewers. How much more The Matrix when the characters literally inhabit a constructed world that disassembles throughout the series?
The second third of the book gets bogged down in an attempt to review the solipsistic references of the film, which culminates in the final third entirely embracing the idea that the movie is Marxist in worldview. (MATRIX = MARX IT, as Clover argues as a high school paper might) A single paragraph dismisses the Christian references (Neo is “my savior, man”, dead and resurrected, the foretold hero) as a “misfortune”—seemingly as much for the fact that it’s difficult to reconcile a single hero to Marxist ideology as for the whiteness of the main cast member. (Keanu is born in Lebanon to a English mother and Chinese-Hawaiian-Portuguese father. Reducing him to skin tone seems to miss the point of his casting.)
The Matrix is infamous for the Wachowskis slipping in as many references to modern philosophy as possible. To focus on one as the answer is to play directly to their desire. The philosophy smorgasbord is the message. It’s McLuhan all the way down. (