Ghost in the Shell (1995)

“Ghost in the Shell” questions the idea of existence, debating on whether it’s a human quality or if human-like machines, like robots or cyborgs can develop this notion of existence. It addresses questions like, what does it mean to actually exist? Or, what makes ‘something’ alive?

This anime transports us viewers to a technologically advanced future full of possibilities, including ones that seems distant in today’s technology. It presents the idea that a machine (the program, Project 2501) can create another machine (the Puppet Master) able to act on its own free will—and even against its programmed function. This makes the viewers imagine what it would be like if ever machines could have this kind of power (to create, decide and act free will)… How would human beings be able to control it? Moreover, what would happen if machines could question their existence? Then what would differentiate humans from cyborgs?

The Puppet Master not only escaped Project 2501, but managed to be imperceptible, like a ghost. Moreover, it was even able to live in human form, within a human body, and experience human qualities such as mortality (this through Kusanagi). This started when the Puppet Master began to contemplate his existence, questioning why he could not die… He wanted to be human, even if it meant to be mortal. At the end the Puppet Master merged to Kusanagi’s body, as its only way to escape was through a physical body. Kusanagi ultimately was a combination of her own self and the Puppet Master’s ghost. 

The Hacker's Manifesto / When Sysadmins Ruled the Earth

Both “The Hacker’s Manifesto” and “When Sysadmins Ruled the Earth” presents hackers as rebels, acting according to their views despite society’s conventional views and misconceptions. In Hacker’s Manifesto they expose themselves as if they were in a whole different social division. They do not follow the limitations that the governments, organizations, and society had established over the use of internet (for security reasons, to protect system information that’s supposed to be confidential and that could be used against a business or government)… Hackers believe they are unstoppable and that any limitation is against (their) freedom of expression. They as well aim to make the point that, as the internet is spread worldwide and it’s impossible to control its use, people cannot stop hackers as a whole…because, either way, they are all spread out everywhere, acting so alike that they can disguise: “You may stop this individual, but you can't stop us all.  After all... we're all alike.”

“When Sysadmins Ruled the Earth” is an interesting story, which makes us think of technology as a weapon that can be used for destruction. In a selfless world, we might imagine technology used for the common good, to make this world a better one, and be connected worldwide to unite us instead of to divide us more. However, we have created something so big and powerful (technology, the internet…cyberspace), that when we think we control it, the immensity of that technology falls out of our control and starts to control us. I think we might be reaching a time in which technology is power, as if becoming our new social division or standard, meaning how many we have may determine our social status:  The more technology, and the more knowledge you have about technology, the more power you have…and therefore, socially above the rest of society. Throughout this story, a debate emerges on whether the technology should be regulated (as possible) and its use inspected, or if it should be part of our freedom of expression (meaning we may use it as we may want). 

Westworld (1973) Ideologies

Westworld (1973) Ideologies 

“Westworld” (1973) explores the ideology that human beings can create human-like complicated machines able to do anything to make their lives more easy and pleasurable, wrongfully believing it’s risk-free. The film presents how the greed o further explore what advanced technology may allow us to do drives us to develop ambitious projects without considering any repercussion it might outcome if that technology ever gets out of control. In this movie, the whole concept of Delos was to offer people the chance to make their fantasies come true and have their dream vacation, within a safe environment (the program was set to keep human beings out of danger, so they could kill androids—for example—but it could not happen otherwise); this, as well had a lucrative purpose for the company. However, the androids were so complicated machines that when malfunctions started to emerge, Delos administrators/company members realized they did not know how to fix it. As a matter of fact, they initially ignored safety signs when something was clearly going wrong; they just care about the lots of money they were making with Delos, and therefore they were unable to control it when incidents continue to happen more often. The androids started to act at they own will, even against their respective programmed function they were designed to. People got killed…and still the company’s economic interests were more important than people’s safety. 

"They Live" (1988) Ideologies

"They Live" (1988) Ideologies

The movie “The Live, They Think” presents the ideology that those who have power (due to politics, status/ social class) has control over the rest of the population. While I was watching the film, I was constantly thinking that if we could see the world through glasses that allow us to see the real meaning behind things (ads, TV, magazines, businesses…), we would probable see the same kind of revelation as the main character of the movie. We are constantly surrounded by messages from power entities whose system controls our lifestyle. Everything that business creates and sells, for example, is done with the sole purpose of making the consumers believe they need more than they have and that what they have is never enough… Moreover, most of those products and services only advantage those who have money, those who created them…and most of them are not made to satisfy a need but vain desire or commodity people could live without. In this shot, we can see some of the messages the main character gets to see when he puts the glasses on. All of those messages seek to establish that the powerless common people in society are ruled by the powerful corporations, business, industries, government or entities that wants people to consume, buy, submit, obey… so they influence what people “should” do, accordingly to their convenience. 

2001: Space Odyssey (Sound)

The scene where Dave asks Hal 9000 (the computer) to open the pod bay door consists entirely of diegetic sound. The shots of the interaction between them appear in individual shots (separated from each other), with few exceptions. Moreover, both—Dave and Hal—have their respective sound which repeats through the shots as they appear. Hall’s sound is more like resembling the sound of the wind or some vehicle’s wheels (a car or airplane in motion). On the other hand, the sound in those shots in which Dave appears and/or is speaking resembles that of an old printer or a projector screen. In some moments, the shot cuts and is followed by a shot of the space; in the first of these shots there’s no sound and no transition as well (in the sound), meaning there’s an abrupt change or cut between these shots (the sound is interrupted and followed by a silent shot). Then, for the other ones the only sound we hear is Dave’s voice. These silent shots anticipate to the viewers that the lack of response from Hal is increasing the character’s anxiety. As we hear Dave repeatedly trying to get Hal to answer, his voice grows more impatient…until Hal finally responds. Same happens when Hal refuses to open the door and ends the conversation. 

Sound & Editing in "The Terminator" (1984)

The scene of the Police Station Shootout begins with The Terminator approaching the Police Station reception asking to see Sarah. After he’s told to wait, he states he’ll be right back and goes outside. Upon his departure the reception is all silent; the viewers can only listen to some non-diegetic sounds like the sound of drums as background music, and diegetic sounds like the reception employee’s hand writing. These initial shots serve as characterization of him as a man who’s so caught up in his routine (in this case, work) that he didn’t pay attention to The Terminator’s suspicious appearance and intimidating voice tone. 

Another moment where sound works together with editing in order to add suspense—and an overall atmosphere of tension within the scene—is the intermixed shots of Sarah Connor and those of The Terminator searching for her. These shots play with the viewers’ expectation as well, specifically when Sarah hides under a desk fearing she’s going to get shot. The viewers’ expectation is that Terminator is going to find her: The shooting feels getting nearer every time and it seems like he’s getting closer to where she’s hiding. The coming and going of the shots framing Sarah and then framing The Terminator shooting around and inspecting all the offices is what shapes that expectation. This intensifies with the presence of diegetic and non-diegetic sounds: The music (non-diegetic sound) is fast-paced just like her heart beats (fast, of course, because of the fear of being found and killed); and the diegetic sounds, the locked doorknob being shaken and the breaking of the door glass (to open from inside, to enter). That expectation falls apart when the door opens and it’s actually Kyle who has found her first, and they escape.

Editing in "The X-Files" (Season 5, episode 11)

The editing in this scene of X-Files (season 5 episode 11) builds viewers’ perception of the events through spatial relationship between shots and the use of ellipsis—a commonly used transitional effect between the shots, in which time is omitted. The overall result is the combination of multiple shots that are interrelated (through editing) in a way that forms the ultimate sense or interpretation of what the scene is about. 

In this sample shots I’ve chosen to analyze, the editing allows the viewers to perceive the woman’s (the "Invisigoth") state of mind first from the close-up (first picture), capturing her reaction towards what the camera is about to show us. Then the next shot captures the ruins of the house in a side-by-side camera movement for panoramic view, while her head is seen front yet blurred; right after, the camera lens’ focus changes within that same shot (instead of cutting into two shots) and the background fades into a blurred perspective while the woman’ face becomes the subject of the camera.

In the upcoming shots, Dana Scully sees her opportunity to break free; the rhythm of the editing—fast-changing shots with little duration each—adds suspense by switching between shots of her struggle and shots capturing the woman’s location as seen through Dana’s perspective (inside the car). Taking advantage of her distance, she manages to unlock herself. In the next shots, editing is important for viewers to know that Dana’s time is running out (to escape), as the woman gets nearer. She discretely continues to unlock by the time the woman gets into the car, and conveniently for Dana, the gun is placed in a reachable place.

When the woman gets inside the car, her reaction was unexpected for Dana. As a seemingly strong woman such as herself, to see her crying was a surprise; she does not know what to do or how she should feel about it. Nevertheless, her disbelief towards her (even despite she's in a moment of emotional weakness) leads her thoughts to her initial extent of escaping. The gun is a reminder of her intentions to escape. And chances have become easier: She already unlocked herself, and it was a matter of taking the gun and she would be in control of the situation. However, she’s aware of the circumstances of the woman’s emotional reaction as she contemplates the house’s ruins from distance while she listens her crying. And interestingly, the next consecutive shots reveal how Dana’s attitude toward the woman’s vulnerable state changes to her ultimate reaction. We can perceive that she feels bad about it, although she's still thinking about the gun. 

These following shots present the viewers with an unexpected change in Dana’s reaction, as she decides to show some emotion instead of remaining cold and distant. After the woman directly gives Dana what she wants (the gun and the power and control it represented), she’s touched by her (the woman’s) selfless reaction (she was willing to die…as if life makes any sense). Dana could understand how sad and lonely she was and finally consoles her. The last screenshot shows Dana as a woman that is able to empathize with other people’s suffering.