The Matrix Reloaded: Philosophical Analysis

Running head: CINEMA AND LITERATURE
The Matrix Trilogy
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CINEMA AND LITERATURE
Abstract
This research paper discusses the science fiction films of Lana and Lily Wachowski, majorly
focusing on The Matrix trilogy. The paper explored various scientific, philosophical and spiritual
theories that the filmmakers interpreted in the films to develop a new language of science fiction.
The paper critically analyzes their films and other works to identify the thematic connectivity
and how they have contributed to the cinema. The major problem of the creativity is their
tendency to combine various diverse aspects at a single space that often present conflicting ideas
and viewers and critics fall into the trap of misinterpretation. Finally the paper tries to establish
an argument that the Wachowskis remediated various pre existing forms and techniques into
their films in such innovative ways that it made their works way ahead of its time
Keywords: The Matrix Trilogy, Science Fiction, Criticism, Inspiration, Philosophy,
Remediation.

CINEMA AND LITERATURE
Table of Contents
Introduction......................................................................................................................................5
Criticism of the Wachowski’s Matrix..............................................................................................6
Criticism of the Ubiquitous Media..............................................................................................7
Post modernism...........................................................................................................................8
Cognitive Dissonance..................................................................................................................8
Social Penetration and Interpersonal Relationships....................................................................9
Struggle of Social Identity.........................................................................................................10
Matrix inspired other sci-fi movies................................................................................................10
Matrix Inspired Non Filmic Aspects.........................................................................................11
The Matrix as a Franchise..............................................................................................................12
The Matrix.................................................................................................................................12
Bullet Time............................................................................................................................12
Matrix Reloaded........................................................................................................................13
Universal Capture and virtual cinematography.....................................................................13
The Burly Brawl scene..........................................................................................................14
The Matrix Revolutions.............................................................................................................14
Leitmotif....................................................................................................................................14
Philosophy behind the Matrix Trilogy...........................................................................................15
Hyper Reality.............................................................................................................................15

CINEMA AND LITERATURE
As Marxist Propaganda..............................................................................................................16
The base, super structure and people in The matrix..............................................................18
Creativity and Philosophical Argument Regarding Marxist Representation........................19
False consciousness...................................................................................................................20
The Allegory..............................................................................................................................20
Philosophical Question..............................................................................................................21
The Matrix Trilogy: Its motifs, themes and symbols....................................................................21
The Mirror Scene.......................................................................................................................21
Representation of Sex................................................................................................................22
Religious references...................................................................................................................22
Problems with Creativity In Religious Connotation..................................................................23
The Wachowskis............................................................................................................................24
Style...........................................................................................................................................25
The works of Wachowskis.............................................................................................................25
An Argument.................................................................................................................................26
Remediation and Premediation in Matrix Trilogy.....................................................................27
The films and non filmic resources that inspired the Matrix.................................................27
Precognition...........................................................................................................................28
Japanese animation................................................................................................................28
Video Game...........................................................................................................................29

CINEMA AND LITERATURE
Hindu Mythology...................................................................................................................30
Conclusion.....................................................................................................................................30
Bibliography..................................................................................................................................32

CINEMA AND LITERATURE
Introduction
The contribution of Lana Wachowski and Lilly Wachowski in the cinematic world of
science fiction is undeniable. From the very first film they tried to expand the limitations of
Cinema through their styles, themes, technical skills, knowledge and creativity. They reached the
highest pick of their artistic career with the science fiction trilogy, most significantly with The
Matrix (1999) and The Matrix Reloaded (2003). The films not only contributed to the advanced
technologies in the filmic production but also to the language of science fiction cinema. They
successfully amalgamated various apparently contradictory subjects like religion, science and
spirituality successfully in their cinematic narrative world.1 Their films create a mosaic of
knowledge, creativity, skills, theory and philosophy and serves as a platform for cinephiles,
theorists and researchers to work on. In depth analysis of the films is capable of exploring
various aspects of cinema, philosophy and life that are not visible in the foreground.2 It is evident
that their films are often misunderstood by critics or viewers like Bound or Cloud Atlas. It is also
true that they sometimes present conflicting ideas and try to create a successful montage that
fails. Their tendency to combine multiple theories, principles and ideas sometimes creates such a
complex ground that the spectators feel lost and confused. However it is this very complex
ground of the cinematic world that opens up new possibilities for cinema. They have established
a world of fiction that has reality embedded to it. This is the reality of human existence, the
interconnectivity of living beings on the earth and the reality of relationships between the nature,
mother earth, the organisms and the universe.3 This research explores how various theories and
1 Eisen, Arri, and Gary Laderman. Science, Religion and Society: An Encyclopedia of History, Culture, and
Controversy. Routledge, 2015.
2 McGregor, Rafe. "Cinematic Philosophy: Experiential Affirmation in Memento." The Journal of Aesthetics and Art
Criticism 72, no. 1 (2014): 57-66.
3 Faugère, Christophe. "Connectalism: An Introduction." Browser Download This Paper (2015).

CINEMA AND LITERATURE
philosophies have been interpreted by the Wachowskis in The Matrix franchise and with the
support of their vast creativity made a different world of their own. Though the researcher
critically analyzes the works of Wachowskis but he also tried to present an argument of his own
through the analysis. Various theories from spiritual and philosophical schools have been
explored to support the ideas that are present in the films.
Criticism of the Wachowski’s Matrix
The Matrix (1999), written and directed by Wachowski siblings is a significant film in
the history of science fiction cinema. The narrative is set in a dystopian world how humans are
surviving in it. The characters are presented with dark futuristic shades and fighting against the
machines.4 The human characters possess electrical power that provides them energy. The high
standard special effects enhanced the movie language to great extent. Many theorists compare
the narrative with The Bible, for example the protagonist Anderson means the son of God which
can be referred to the son of god.5 Beyond the religious connotation the film offers a different
perspectives and ideas about our world and life. Beyond the flesh and bone of the realistic world
the film demonstrates a world that is more guided by the filmmakers’ imagination. The film also
establishes a world where the external flesh and the internal spirit both inhabit in coexistence of
both peace and conflict.6 Viewer has the freedom to follow a path in order to open up another
layer of reality and guides them to their desired path.
4 "The Matrix". 1999. Warnerbros.Com. https://www.warnerbros.com/matrix.
5 Taylor, Mark, and Martin Buber. "General Introduction: The Bible and Its Cinematic Reception." The Bible in
Motion: A Handbook of the Bible and Its Reception in Film 2 (2016)
6 Milburn, Colin. "A Useful if Ungrounded Study." (2016): 402-405.

CINEMA AND LITERATURE
The movie depicts two parallel worlds that are the dream world and the real world. The
dream world is run by computer and all the living humans inhabiting the computer world without
any knowledge. The protagonist Neo is a computer programmer who becomes a rebel against
the machines. Morpheus, the captain of the spaceship Nebuchadnezzar guides him in his journey
to search for the matrix.7 They go on a mission in the dream world and come back through the
safe exit. In the dream world there is another team of agents who are basically humanoid robots
on mission of killing the human race in the real world. They chase and catch Morpheus because
of his knowledge of matrix codes to enter their world. Neo comes to save Morpheus from the
agents.
Criticism of the Ubiquitous Media
Marshall McLuhan introduced the Media Ecology theory in 1960s. Media can be defined
as all the technologies that expand the means of communication and mostly human made.
Ecology is the study of environment and how it impacts upon the people. Human feelings,
understanding, values and perceptions are greatly affected by media communication.8 The media
theorists suggest that human interaction with media increased the survival chances.9 The
environment is a complicated message system comprised of the expression of ideas, feelings,
thinking of the human beings. The media environment is consisted of the television, film, radio,
books are mostly informal and the assumptions of human beings are half concealed in a way that
highlights that it is not an environment rather a machine. However media ecology makes the
environment explicit as it defines and decides what and how human see and perceive things.
7 Meinhold, Roman. "Being in the Matrix: an example of cinematic education in philosophy." (2015).
8 Madianou, Mirca, and Daniel Miller. "Polymedia: Towards a new theory of digital media in interpersonal
communication." International Journal of Cultural Studies 16, no. 2 (2013): 169-187.
9 Stephens, Niall P. "Toward a more substantive media ecology: Postman’s metaphor versus posthuman
futures." International Journal of Communication 8 (2014): 19.