The MatrixThe Matrix (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, The Matrix 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. Joshua Clover undertakes the task of decoding the film. Examining 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 how The Matrix ultimately expresses the crisis American culture faced at the end of the 1990s. |
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Page 17
... camera appeared to circle objects and bodies fully stilled in their flight , had already slipped without much notice into a couple other sci - fi movies by way of that nouveau hotbed of cinematic innovation , the commercial spot ( in ...
... camera appeared to circle objects and bodies fully stilled in their flight , had already slipped without much notice into a couple other sci - fi movies by way of that nouveau hotbed of cinematic innovation , the commercial spot ( in ...
Page 61
... camera passes like a ghost through Rhineheart's window ( as if that window were not hard but software ) , we see always through the camera lens ( and by extension , through the arsenal of cinematic device ) - the lens . that is , just ...
... camera passes like a ghost through Rhineheart's window ( as if that window were not hard but software ) , we see always through the camera lens ( and by extension , through the arsenal of cinematic device ) - the lens . that is , just ...
Page 90
... Camera Operator David Williamson Camera / Steadicam Operator Robert Agganis Underwater Camera Operator Roger Buckingham Wescam Operator Phil Pastahov Cam - Remote Operator Paul Micallef 1st Assistant Camera David Elmes 2nd Unit : Frank ...
... Camera Operator David Williamson Camera / Steadicam Operator Robert Agganis Underwater Camera Operator Roger Buckingham Wescam Operator Phil Pastahov Cam - Remote Operator Paul Micallef 1st Assistant Camera David Elmes 2nd Unit : Frank ...
Contents
Edge of the Construct | 6 |
Bad Digital | 29 |
Good Spectacle | 42 |
Copyright | |
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2nd Unit Agent Smith allegory Andrew Animator appearance Artists Assistant audience Baudrillard Bill Pope Blade Runner boom bullet camera Carrie-Anne Moss cast cinematic Co-ordinator concepts consciousness Construct films corporate cubicle Cypher Dark City David desert designed Disneyland economy Edge exactly false fantasy fighting film's Fiona gamer hero Hollywood human ideology immersion irreality Johnny Mnemonic Keanu Reeves kicks kung fu labour Laurence Fishburne lives look machine Matrix mediated metafilmic Michael mirrorshades Morpheus Morpheus's movie movie's narrative Neo's Neuromancer nightmare nostalgia offers Paul perhaps Philosophy pop culture Production question realise reality rebel Reeves's scene sci-fi screen seems sequence simulation Slavoj Žižek social Special Effects spectacle story Strange Days Supervisor tech television theatre things Thirteenth Floor Thomas Anderson Trinity Truman Show underclass videogame viewer Visual Effects Wachowski Brothers Warner Bros window Žižek