Genre Analysis of The Matrix - Desklib
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Running head: GENRE ANALYSIS OF THE MATRIX
GENRE ANALYSIS OF THE MATRIX
Name of the Student
Name of the University
Author Note
GENRE ANALYSIS OF THE MATRIX
Name of the Student
Name of the University
Author Note
GENRE ANALYSIS OF THE MATRIX1
The Matrix (1999), directed by Andy and Larry Wachowski, is a movie that contains
the fusion of literary, philosophical and spiritual allusiveness and is recognized as one of the
most exclusive and influential film of the genre fiction. Through the magnification and
exploration of genre fiction, the move has opened a new era in focusing and magnifying such
genre in the industry of cinematography. The Matrix, centralizes on the notion of reality
perceived through the computer generated interactive world and projects the meaning of the
‘actual’ reality (Zizek). The movie reflects the genre of science fiction through the world
created by a computer program called Matrix. In this world, the humans live and
communicate with each other the way they live and interact in the real world. These concepts
are introduced in the movie giving birth to anti-utopian fiction, the dimension where every
worst fear are brought in the reality through the computer generated interactive world. The
vision of science fiction in the movie has grabbed four Oscars (Zizek). The sequels of the
movie were released in the year 2003, that is, The Matrix Reloaded and The Matrix
Revolutions. The paper focuses on the deliverance of an in-depth analysis of the genre fiction
revealed in the movie through the use two elements, namely, Science fiction and action.
The Matrix widens the view of the sci-fi genre through various ways, for example, the
use of extensive intertextuality, provided with modern graphics and special effects. In
addition, it projects the modern cinematography and new filming techniques (Zizek). The
matrix through the employment of artificial intelligence machine and after-effects of
experimental techniques like nuclear testing and genetic engineering facilitates the viewers
with the insights of future. The movie incorporates the traits of pseudo- sophisticated
intellectualism provided with refined psychoanalytic and philosophical conceptual
distinctions (Zizek). The idea of the protagonist or the hero living in an artificial world, a
controlled and manipulative dimension magnifies the trait of fiction and further the movie,
The Matrix, is recognized as the spark of introducing the virtual reality with a prevailing
The Matrix (1999), directed by Andy and Larry Wachowski, is a movie that contains
the fusion of literary, philosophical and spiritual allusiveness and is recognized as one of the
most exclusive and influential film of the genre fiction. Through the magnification and
exploration of genre fiction, the move has opened a new era in focusing and magnifying such
genre in the industry of cinematography. The Matrix, centralizes on the notion of reality
perceived through the computer generated interactive world and projects the meaning of the
‘actual’ reality (Zizek). The movie reflects the genre of science fiction through the world
created by a computer program called Matrix. In this world, the humans live and
communicate with each other the way they live and interact in the real world. These concepts
are introduced in the movie giving birth to anti-utopian fiction, the dimension where every
worst fear are brought in the reality through the computer generated interactive world. The
vision of science fiction in the movie has grabbed four Oscars (Zizek). The sequels of the
movie were released in the year 2003, that is, The Matrix Reloaded and The Matrix
Revolutions. The paper focuses on the deliverance of an in-depth analysis of the genre fiction
revealed in the movie through the use two elements, namely, Science fiction and action.
The Matrix widens the view of the sci-fi genre through various ways, for example, the
use of extensive intertextuality, provided with modern graphics and special effects. In
addition, it projects the modern cinematography and new filming techniques (Zizek). The
matrix through the employment of artificial intelligence machine and after-effects of
experimental techniques like nuclear testing and genetic engineering facilitates the viewers
with the insights of future. The movie incorporates the traits of pseudo- sophisticated
intellectualism provided with refined psychoanalytic and philosophical conceptual
distinctions (Zizek). The idea of the protagonist or the hero living in an artificial world, a
controlled and manipulative dimension magnifies the trait of fiction and further the movie,
The Matrix, is recognized as the spark of introducing the virtual reality with a prevailing
GENRE ANALYSIS OF THE MATRIX2
factor of fiction in the of film industry. Virtual reality marks the simulated experience of
reality that tends to bring the notion of ‘real’ reality provided with the consequences that are
undermined in the very essence of ‘real’ reality. The fantasy of every individual is the fictious
space that is explored in the movie is constructed with the realistic feature of the real world
resembling the real life and the real life is deprived of the actual inertia and weight of the
materiality.
The falsity of The Matrix is majorly noticed in the designation of the character Neo as
“the One”. The One signifies the authoritative element of one of the Master-Signifier. In Ihe
Matrix, the One is identified as the one who is able to view the reality even in the framework
of falsified reality (Zizek). Neo is the One who sees through the codified virtual dimension
and its dynamics in order to unplug the error and threats. The One has the power to
manipulate and suspend the rules such as ability of flying in the air, or the power of stopping
the bullets. The One himself becomes the virtualization of the reality in the dimension of
falsified dimension of reality, that is, the artificial construct of the reality where the rules can
be suspended provided with the paranoiac elemental notion that the One can deal the
resistance of the Real (Constable). The impossibility such as walking through thick walls is
projected and embraced by the One in order to decrease the failure of will of the subject
(Zizek). However, the movie does not delve deeper much yet it retains the crucial scene
through the psychoanalytic views of philosophies. The Matrix, focuses on the specifications
of falsity through the employment of the technologies thereby, the movie successfully
incorporates the fantasmatic falsity, for instance, the functioning of time machine is
impossible but in the paradigm of fantasmatic scenarios the idea of time machine is ‘true’.
These experiences are consistent throughout the movie provided with witness of the fact that
reality is fictious (Constable). However, at the end of the movie, the agent of the Matrix,
Smith, provides a Freudian explanation, in which the first Matrix is recognized to be the
factor of fiction in the of film industry. Virtual reality marks the simulated experience of
reality that tends to bring the notion of ‘real’ reality provided with the consequences that are
undermined in the very essence of ‘real’ reality. The fantasy of every individual is the fictious
space that is explored in the movie is constructed with the realistic feature of the real world
resembling the real life and the real life is deprived of the actual inertia and weight of the
materiality.
The falsity of The Matrix is majorly noticed in the designation of the character Neo as
“the One”. The One signifies the authoritative element of one of the Master-Signifier. In Ihe
Matrix, the One is identified as the one who is able to view the reality even in the framework
of falsified reality (Zizek). Neo is the One who sees through the codified virtual dimension
and its dynamics in order to unplug the error and threats. The One has the power to
manipulate and suspend the rules such as ability of flying in the air, or the power of stopping
the bullets. The One himself becomes the virtualization of the reality in the dimension of
falsified dimension of reality, that is, the artificial construct of the reality where the rules can
be suspended provided with the paranoiac elemental notion that the One can deal the
resistance of the Real (Constable). The impossibility such as walking through thick walls is
projected and embraced by the One in order to decrease the failure of will of the subject
(Zizek). However, the movie does not delve deeper much yet it retains the crucial scene
through the psychoanalytic views of philosophies. The Matrix, focuses on the specifications
of falsity through the employment of the technologies thereby, the movie successfully
incorporates the fantasmatic falsity, for instance, the functioning of time machine is
impossible but in the paradigm of fantasmatic scenarios the idea of time machine is ‘true’.
These experiences are consistent throughout the movie provided with witness of the fact that
reality is fictious (Constable). However, at the end of the movie, the agent of the Matrix,
Smith, provides a Freudian explanation, in which the first Matrix is recognized to be the
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