Reality and Hyperreality in Cinema A Case Study of Matrix

Certain Cinematic Tendencies in the 1990s The Matrix (1999) Written and Directed by Andy and Larry Wachowski

Certain Cinematic Tendencies in the 1990s A short synopsis Computer hacker Thomas Anderson has lived a relatively ordinary life until he is contacted by the enigmatic person called Morpheus who leads him into the REAL world.

Certain Cinematic Tendencies in the 1990s

The computers have created the Matrix to keep the human slaves satisfied, while the AI machines draw power from the humans.

Certain Cinematic Tendencies in the 1990s Morpheus and other rebel warriors are constantly pursued by the police or “Agents” (computers who take on human form and infiltrate the Matrix), while struggling to overthrow the Matrix.

Certain Cinematic Tendencies in the 1990s The Truman Show (1998) written by Andrew Nichol and directed by Peter Weir The hero’s [Truman’s] home town and the surrounding area is the world’s largest soundstage (television stage).

Certain Cinematic Tendencies in the 1990s

SimCity is a city-building simulation game, first released in 1989 and designed by Will Wright. SimCity

The 1990s SFs as an Allegory

Simulation and Simulacra A key to understand allegorical meanings of The Matrix A brief shot of a book, Jean Baudrillard’s Simulacra and Simulation

Simulation and Simulacra To dissimulate – to feign (or pretend) not to have what one has. To simulate – to feign (or pretend) to have what one doesn’t have (there is nothing) “To simulate is not simply to feign … dissimulation leaves the reality intact … whereas simulation threatens the difference between ‘true’ and ‘false’ and between ‘real’ and ‘imaginary’” (Jean Baudrillard)

Simulation and Simulacra Simulacrum = what is simulated; a copy of reality which has already lost its original presence, immanence and meaning Simulacrum = an empty sign which refers to only itself and does not stand for something else Our reality itself is made of simulacra There is nothing which is not simulated in our reality - postmodern reality.

Simulation and Simulacra Art as simulation - does not even pretend that it is a copy of reality. Art being devoid of original presence – a copy of a copy

Simulation and Simulacra Diego Velazquez Portrait of Pope Innocent X (1650) A copy of real Pope Innocent X, but the copy is more real than real

Simulation and Simulacra Present-day simulators make the real coincide and coexist with their simulation models. We are surrounded by images - films, TV, games, holograms, computer graphics, etc. Copies, replicas, models

Simulation and Simulacra “Disneyland is presented as imaginary in order to make us believe that the rest is real, when in fact Los Angeles and the America surrounding it are no longer real, but of the order of the hyperreal and of simulation”(Jean Baudrillard).

Simulation and Simulacra “We not only enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it.’ Umberto Eco

Simulation and Simulacra Michael Crichton’s Jurassic Park (1993) is about an attempt to create a theme park of cloned dinosaurs. Theme parks, clones and computer graphics – all that are simulated and simulacra now make up our reality Jurassic Park

Simulation and Simulacra We are surrounded by simulacra ‘in the age of mechanical reproduction’ (Walter Benjamin)

Visual Images as Simulacra What The Matrix shows us is the reality like ours, but more perfectly, which consists entirely of simulated and mediated people and objects – hyper-real objects. The Matrix presents a simulated reality. But how?

Visual Images as Simulacra Digital image surroundings Videogames: The Matrix deploys digital effects and images resonant for gamers Whether one played on a PC or a platform like PlayStation or X-box, videogame images are all digitally coded.

Visual Images as Simulacra We are surrounded by digitally created images: video game and computer game Wire fighting effects example

Visual Images as Simulacra Immersion effects (effects which make you completely absorbed in the film) You leave your reality for a moment and are absorbed in another reality. Made possible by digital effects: digital effects Wire-fighting choreographed by legendary Hong Kong choreographer/director Yuen Wo Ping (Yuen Cheun-Yan)Yuen Cheun-Yan

Visual Images as Simulacra Jackie Chen films The Matrix Crouching Tiger and Hidden Dragon (2000)Crouching Tiger and Hidden Dragon Kill Bill (2003)

Visual Images as Simulacra Wire fighting, which had been made popular through Kung Fu films and video games, appeared also in The Matrix example

Visual Images as Simulacra Bullet time = a computer enhanced, extreme slow-motion effects It is thrilling, and filled with visual pleasure, and designed to surround one’s consciousness utterly. Matrix, TrinityTrinity