The Films Avalon, Ghost in the Shell 2 and Metropolis - Movie Review Example

Film Analysis This paper analyzes three different films ly Avalon (dir. Oshii Mamoru, 2001), Ghost in the Shell 2: Innocence (dir. Oshii Mamoru, 2004) and Metropolis (dir. Rintaro, 2001). The researcher uses different ways in analyzing the films such as sound design of the film, its editing and the message the film indents to convey to the society. Each film is analyzed individually with no comparison to the others films under this analysis, and focuses to bring out the best understanding of the said film. Avalon (dir. Oshii Mamoru, 2001) Introduction In another futuristic universe, young people are addicted to an illegal simulation video game called Avalon. This film also relates to effects of technology on human, some effects leave the player in a technologically simulated game catatonic (Ruh 218). Setting Mise-en-scene and cinematic’s are not appealing to the eye. The future is portrayed as gloomy, in an imaginary town in Europe. This contrasts the current Europe, which is among the first world countries, live in action for twenty four hours in a day the whole year round. Visuals of this film depicts a chaotic and dirty town, computer games have lost their innocence, turning out to be addictive form which large sums of money are won. Plot Animation on this film takes a reverse from the traditional technology through which artistic control took over control on how the films looked like. This film theme on technology is wholeheartedly pessimistic, portraying the adverse effects of modern technology in the future, where young people have enslaved themselves to computer games. Winning is all that matters to them, as these young people seek escape from the real humdrum everyday existence (Ruh 218). Discrepancy in Style In reference to the four points stylistic, there are four varying styles in this film, depicting various aspects of this film. One of the levels depicted is “real world”. Here, Avalon first shots are showcased by use of unsteady camera movements. This reminds the users of war zones reports. This paper understands this to mean the constant war that the different classes of Avalon is under, as implied by immediacy to the scenes. Close-ups and medium-shots leaves the audience desiring to see more and the sounds bring to a closure of episodes, and the cinematography are at their best (Ruh 218). In the real world, this film draws attention to the main character by transmitting static shots, depicting the uneventful lives in this world. This uneventful is viewed in Ash life, lives alone, with no contact with other people. Her life activities are cooking meals and playing with her dog only. Class real is the second notable style in this film, conveyed by Ash moving to inner city. Its’ becomes harder to tell her from other characters, motions becomes overwhelming, and colors too. Colors are stocked, then digitally altered, creating a bleakness which is a mise-en-scene. Shots in this film are under populated, creating a complicated crane sequence, and it is difficult to tell when Ash leaves her interface cavern, until the camera follow her and dollies rises and gives weird looks. This happens like this in several sepia toned parts of the film, indicating the use of minimal animation, which is a distinct aspect in class real. Through this, the portrayal of all characters is satisfying, especially when the camera is left at still. Sound design and Effects Musical themes and sounds emphasize the stylistic diffusion on this film. Synthetic sounds, incorporated with other elements of style crowded with city noises that blank out any musical accompaniment are employed appropriately on all locations until the performance reaches the opera hall (Ruh 218). The above sound diffusion is achieved through employment of directorial control, aided by technology in use. Reflexivity of Avalon As Ash develops into new levels of gaming, it stimulates the viewers to think on whether she will come back into real life. The director edits this part of the film, by use of full colourspanaroma, through which Ash finds herself going through an existential paradigm shift. Colour effects and drab monotone exhibited at the beginning of this film, is gloomy and dull, as opposed to the colour effects and stimulation Ash achieves once she achieves levels of gaming. The mise-en-scene here is the portrayal of human limitations, cognation, social capacity and sensations limit which one conveys to her/him in various environment set-ups (Ruh 218). Past and the future are perfectly contrasted, and use of sounds to capture audience attention at these dynamically shifting times is achieved. Bleek and eerie sounds dominates the scree, prior to Ash entry to her final level. This level presents its set of challenges, among them Ash instructions to hunt down a bug who has escaped from the advanced stage. This level is filled with contemporary world features, ranging from billboards, public transportation, and streets busting with people (Ruh 218). From this level, Ash is directed to a more advanced level, which is mythical and dictatorial. Cinematography is achieved at its’ best here, and the reminiscent of Baudrillard’s cultural simulation is portrayed as construed by the state and media. In conclusion, Avalon employs cinematography to tease humans on how we choose to perceive and live our life. Mise-en-scene on the whole film depicts that the life we live in is a perception of the human mind, imposed on humans by human. Relevancy of trans-humanism is relevant in this film, as implied by editing to achieve the imaginative world. Taking into account the human augmentation, and possibility of mankind existential mode shift, humans might find themselves leaving planet earth and going to a world of undiscovered colour. Ghost in the Shell 2: Innocence (dir. Oshii Mamoru, 2004) Introduction Robots are killing their human owners. This is the premise of Ghost in the Shell 2: Innocence. This film makes many allusions and references to other famous works such as Ghost in the shell 1992, philosophy and Zen (Ruh 212). It is a science fiction film, and stands as the only Disney Studio film animated production. This film highlights about the future, how life will be, basing its’ storyline on creative imagination about technological advancement and human potential in years to come. This emergent theme is set to address aesthetic and moral questions ((Ruh 212). Plot Mankind reliance on technology produces consequences. This is the central theme and storyline narrated in the whole film plot. In our contemporary world, human soul is understood by reliying on past and told narratives about human origin. This film explores effects of technology on human beings, and the existence of human soul, how it thrives and conducts itself when separated from the human body (Ruh 212). Thus, the human soul is captured in a technological sheel, “ghost”, which is a dystopian vision of the future. Sex robots portrayed in the film are visual aids in conveying the meaning and providing eye catching mise-en-scene. They influence the viewer’s mindset in understanding the film, though they are disturbing. There design aids in viewing the planet in years to come, how it will be like, and how technological advancements might deliver unanticipated consequences. The setting of this film, in a land far east unknown in present world, generates a sense of time, and expresses the film vision which sells to the viewers. Editing Philosophy and literature are distinct, observed themes, observed when characters using their artificial memories quotes mankind quotes like Darwin and Confucius. This paper suggests that “memory”, or brain in this film is externalized, and emphasizes that humanity is moving exponentially towards machine-improved future (Ruh 212). Animation and sound design makes this film highly frustrating to watch, and understand the storyline. 2D and 3D animation are consistent, and they meet each other so agreeably rendering beautiful visuals. Visuals, action sequences and philosophical ponderings reflects western conception about anime, and rich Chinese mythology. Discussion Ghost in the shell 2: Innocence succeeds where most of animation films have failed. For instance, a scene where Batou buys dog food makes viewers get used to the dog imagery, and every detail of the store is paid attention to. This creates an innocence living world, and a treasure planet. The song that plays over the start of this film is a rehash of the first film’s opening sequence, which refreshesviewer’s memory about the original former film, while preparing them for them for this new film. Closing song is not attention catching, with the Japanese voices dipping into an archaic tongue, impossible for even the Japanese to understand. The voices are monotones, long and slow, prolonging the end of the film. Setting of the film has a deeper meaning, difficult to understand by the unknowing eyes of the viewers. Its’ futuristic setting conceptualizes the human mind/soul, and the puppet master as envisioned implants memories on innocent people to turn them to his accomplices (Ruh 212). Metropolis (dir. Rintaro, 2001) Introduction Set in alternate future, the city of metropolis is a modern day utopia built through using labor provided by robots with a brimming, diverse populace (Cavallaro 184). Visual display is emanating by the division of the city into different zones, and functions divided among the zones. Inhabitants of each zone are categorized by classes of rulers and thinkers, then servers and workers. The retro designs of the buildings bring out the mise-en-scene distinctively. Editing is clear where humans and robots are portrayed to be functioning perfectly, through the façade of tension between them. As celebratory fireworks bursts and shimmer like exploding stars, sounds are heard as noises, and camera swerves dizzyingly along the sleek surfaces (Cavallaro 184). Unknown to the revelers, Red, the bad guy has commissioned the Doctor to construct a human like girl robot, by name Tima, This is a unique editing feature, appealing to the audience, through which two contrasting happenings are observed at the same time. Beneath the surface of a perfectly functioning city, so much unrest is brewing. Among them is the creation of Tima and cries by the poor and destitute for an upheaval of the political system. The poor are crying for unleashing of robot labor. Unlike other robot, who are purely mechanical, Tima is a synthetic recreation of Duke Red deceased daughter, a perfect manmade human who cannot fly like other robots. She rejects him, and this instills pain into him, and cinematic sounds and sounds are played to convey fathers’ pain of rejection. Artwork Metropolis is a film of diverse beauty, mainly enhanced by the visual display and sound effects. Visuals are stunning, and the vast city is beautifully rendered background by dazzling 3D effects, creating more marvelous effects. Characters, mainly the robots, are dwarfed by the huge structures, gear works and machines. For clear view of cinematography of this film, larger screens are appreciated. Another notably editing feature is the portrayal of characters having exaggerated features, ranging from the Duke giant nose, and Tima’s saucer-like eyes. All characters are distinct and jarring (Cavallaro 184). The aura component of the film is a noticeably artistic feature, exhibited by the mixing of traditional instrumental pieces and nifty jazz infuses. Climax thundering of the sound trucks fits beautifully with the retro-futuristic concept, though images of destruction are in contrast paired with the most noticeable song in the film, “I can’t stop loving you” by Ray Charles. Criticism Metropolis is an interesting film, which stands out from other animations. However, it has some rough edges, starting with the devotion of so much time in development of Tima. Though her development, awaking, discovery and building burgeoning relationship provides some enjoyable and poignant moments, the film plot should have created room to embrace more of Rock hatred for robots and explanation of the same (Cavallaro 184). Revolution and political upheaval seems to have been halfway realized in this film, arguing from the fact that revolutionists are given very little screen time to fully appreciate their plight. A similar fate befalls political movers and shakers, a shortcoming on this film editing. Sound and visual display of revolutionists, political shakers and movers seems like an afterthought tacked in for additional depth, and a mise-en-scene for the same is lacking. This may be attributed on the film editing lack of control, or directorship trying to do so much with limited time. Conclusion Metropolis has an intelligent plot, interesting characterizations and a unique artistic flair (Cavallaro 184). Its trial to do so much portrays a distinct cinematography effect, which may turn off many as well as attract more audience. From the onset of this film, it is evident that it is not for the simple-minded. Its’ incorporation of nature of life and love, pain of a fathers’ rejection, role of workers, rights of machines and the fascist zeal that lies behind Ziggurat presents a challenging adventure, that leaves room for wide range of elaboration. This film is sadly sterile, and at the end leaves the audience wondering what will Tima do once she reaches adulthood and realize that she is not a girl? And consequently, on realization, she goes insane, rejects his father, Duke Red, and orders biological and nuclear attacks on humans in revenge (Cavallaro 184). Editing may play its role in ensuring that the characters never grow up, which is a contrasting feature with major animations films in which audience are taken through the characters journey to adulthood. Works Cited Cavallaro, Dani, Anime and Memory: Aesthetic, Cultural and Thematic Perspectives, McFarland, 2009, pg 184, Print. Ruh, Brian, Stray Dog of Anime: The Films of Mamoru Oshii, Palgrave Macmillan, 2014, pg 218, Print. Ruh, Brian, Stray Dog of Anime: The Films of Mamoru Oshii, Palgrave Macmillan, 2014, pg 212, Print. Read More