The Matrix Trilogy - Movie Review Example

The Matrix Introduction The Matrix has been the most watched science fiction films in the past decade. The film overtly draws on theoretical paradigms, and refers to its own genre and other films repeatedly to enact effects within the audience. For instance, there is considerable reference made to the theoretical constructs of simulation and illusion vs. reality. Alice and Wonderland is also intertextualy implemented to create a number of effects. Similarly, the film capitalizes on social anxieties and a dystopic vision to engage the audience on deep and primal levels. Here, one witnesses the exploration of anxiety regarding technology and the coming millennium. The ultimate implications of these techniques are that they have varied and broad ranging implications for the audience. This essay considers these implications, arguing that the Matrix makes use of intertextuality, theoretical paradigms, dystopic visions, and social anxieties to create a compelling narrative. Intertextuality First articulated by Julia Kristeva in her 1969 essay Word, Dialogue, Novel, intertextuality examines the interrelation between and within films and novels (Kristeva). There are a great many instances wherein the Matrix utilizes intertextuality to create a more convincing and compelling narrative. One of the most notable references it makes to other films or texts is its link with Alice in Wonderland. There are similar mise-en-scene elements to those implemented in Alice in Wonderland; for instance, consider the checkered patterns on the floor and staircase when Neo is brought to the building Morpheus is residing. When Neo finally encounters Morpheus, Morpheus states, “I imagine youre feeling a bit like Alice, tumbling down the rabbit hole.” This is a direct reference to Alice in Wonderland, a metaphor which is further advanced as Morpheus even offers Neo the choice of taking a pill that will significantly alter his reality. Morpheus tells Neo, “follow the white rabbit.” The paradigm shifting and somewhat psychadelic implications of this have much in common with Alice in Wonderland, and are utilized to place the viewer in this dream-like and imaginative context. Neo is also instructed to, “hold onto your shoes Dorothy” making a reference to the Wizard of Oz. From another perspective, it seems the filmmakers utilize references to Alice in Wonderland and the Wizard of Oz in this context to not only root Neo in the fantastical narrative elements, but also to give the viewer an outside reference that gives them a foundational understanding of the narrative occurrences. That is, just as Neos paradigm has been upended, so is the film asking the viewer to suspend their disbelief in their daily lives and embrace the filmic narrative. In these regards, Alice and Wonderland is utilized to give the viewer a familiar frame of reference to which they can compare and understanding their confusion. Theoretical Paradigms In examining the Matrix one notes that there are a wide variety of theoretical paradigms implemented in its construction. While much post-structural criticism can be attached to element of the Matrix, considered from its core elements the film explores philosophical considerations as ancient of Platonic philosophy. In Platos dialogue of the cave he examines a situation wherein individuals are shackled inside a cave, only able to view shadows dancing on a wall. They are ultimately released and gain true knowledge of the world upon leaving the cave. In the Matrix one sees the philosophical implications of this as Neo is living his existence just as the individuals in Platos dialogue are shackled to the cave. Upon taking the red pill and realizing the reality of the dystopia, Neo has left the cave and come to understand the true reality of his existence. Within this paradigm much post-structural criticism can be applied that considers the theoretical paradigms within the film. One of the predominant such perspectives is that of Baudrillard who posited in Simulacra and Simulation that the social order is signified in a sort of second order signification, with the true reality concealed by these levels of signification (Baudrillard). In the Matrix, the reality of Neos existence as a slave to machines would constitute the first order signification, with the concealed reality of his life in 1999 representing the second order level of signification. In addition to this theoretical perspective, scholars have noted other post-structural frameworks within the Matrix. For instance, Blazer argues that the Matrix can be read in terms of a Lacanian psychoanalytic dialectic. In these regards, its argued that the Matrix borders the line between the Lacanian Symbolic and Real. While the Lacanian language is highly challenging and dense, its application within the Matrix can perhaps best be understood through examination of his Language of the Self, where he writes, “The Symbolic function presents itself as a double movement within the subject; man makes an object of his action, but only in order to restore to this action in due time to its place as a grounding” (Lacan 48). While this reference is difficult to decode, it seems that Lacan is advancing a perspective similar to that of Baudrillard, except for Lacan these orders of signification refer to the self, in this instance Neos reality, rather than the overarching social order of his existence. Dystopic Vision and Social Anxieties The dystopic vision the film presents is one wherein machines have usurped control of the planet and have enslaved humanity. The machines have created a parallel reality wherein individuals live in the Matrix, a replica of 1999 while in reality they are attached to machines in approximately 2199. Perhaps the most strikingly compelling articulation of the films dystopian world occurs after Neo takes the red pill and is transported to 2199 where he becomes aware of the reality of his existence. The filmmakers cut from Neo transporting into this world, to him naked in a pile of red sludge attached to a ominous looking metal machine to which he must unhinge himself. Its a powerful scene that is accompanied by editing techniques that dissolve in and out, mirroring Neos conscious awareness. Other powerful images of Neo with hundreds of needles are inter-spliced, and Morpheus promises Neo that an explanation of his situation will come soon. Its clear that this vision of the future is not simply science fiction, but a tragic dystopian vision. When Neo is finally revealed the reality of the Matrix the true implications of the films dystopian vision become apparent, as well as the deep social anxieties that act as subtextual elements throughout the film. Created in 1999 at the cusp of the new millennium its clear that the film taps into a society experiencing anxiety at the rapid advancement of technology and the increasingly fast-paced nature of society. In explaining to Neo the reality of his situation, Morpheus shows him contrasting images of the world in 1999 and then the dystopic world in 2199, wherein pollution and decay has overtaken the cityscape. Here one even witnesses a similar concern with the rapid advancement of technological progress that is characteristic of the masterful subtlety utilized in elements of Dr. Seuss children stories. Morpheus then explicitly states the films thematic concern with social anxieties, stating that this dystopian world was a direct result of early 21st century advancements in artificial intelligence. Finally, we come to discover the truth that humans are used as energy for these machines. This is the ultimate anxiety; that the very social progress and technological advancement that is made will reflexively result in the very demise of the society that made it. Conclusion In conclusion, its clear that the Matrix makes use of intertextuality, theoretical paradigms, dystopic visions, and social anxieties in creating a compelling narrative. Its use of intertextuality occurs as it references Alice in Wonderland and the Wizard of Oz, functioning to root the viewer in the reality of their worldly existence. The film incorporates a number of theoretical and philosophical paradigms, including Platos dialogue of the cave, and later post-structural examinations of self and signification. Finally, the film exemplifies a dystopian vision through its articulation of a 2199 machine dominated world. This articulation also taps into social deep rooted social anxieties about the rapid advancement of technology in the 21st century. References Baudrillard, Jean. (1995). Simulacra and Simulation (The Body, In Theory: Histories of Cultural Materialism). Michigan: University of Michigan Press, Print. Blazer, Alex E. "The Matrix Trilogy" and the Revolutionary Drive through "The Desert of the Real." Literature Film Quarterly 35.4 (2007): 265-273. Kristeva, Julia. The Kristeva Reader. New York: Wiley-Blackwell, Print. Lacan, Jacques. The Language of the Self: The Function of Language in Psychoanalysis . John Hopkins University Press, Print. The Matrix. Dir. Wachowski Brothers." Perf. Keanu Reeves, . Universal: 1999, Film. Read More