Films Relationship Between Technology and Responsibility - 1100 Words

Films Relationship Between Technology and Responsibility (Essay Sample) Content: NameInstitutionCourseInstructorDate Response to FilmsAmong the most efficient ways of debating upon all kinds of issues facing the society is film production. Films achieve this especially because of their ability to capture the global or transnational scale of problems facing the society visually. With this in mind, we can agree that films have the capacity to reach vast global audiences. Films not only communicate ideas and essential cultural component but also facilitate efficiency in learning besides motivating participation from various generations of the audience. The mediating role of technology in human experiences can be depicted to be an intentionality of the technology in movies. Technology-directed movies help in shaping our perceptions and interpretations as they should be (Case, 26). It is through such interpretations that we can get an explicit basis of what is perceived. The films; The Fly (1958), The Fly (1986) and Hugo (2011) all depicted technology in a manner that is similar to one another. The technological intentionality in the movies helps shape experiences and interpretations that in turn are manifested in our behavior (Manvell, 89).The three films have achieved the sophistication and technical aspects in their spectacularity and visual story-telling. The three films have revealed the relationship between technology and responsibility pretty clearly. In The Fly (1958), the director rotates the audience around a man who turned to be a fly by fusing his head and switching it with a fly. The technological aspect of the film helps us to own it which is why we repeatedly enjoy watching it. In the movie, technology showcases in our most hideous, destructive, atrocious parts and our most beautiful and creative and incredible parts. The Fly (1958) homes an innovative sci-fi thriller inside of a sentimental 'lady's photo' position. Gatherings of people were astounded and stunned by the film's awfulness perspectives. Like a techno logical cousin of Kafka's cockroach monstrosity in Metamorphosis, a man all of a sudden gets himself having the leader of a titan bug. As his horrid destiny is known from the get-go, his wife's cheerful hopefulness gives its very own pressure. The teleportations are arranged with a development of glimmering lights and shrieking commotion. Witnesses wear dim goggles, as though watching an atomic impact. The revealing of Andre's terrifying fly's head is a significant stunner of how technology can make one switch places in a blink of an eye.  INCLUDEPICTURE "http://basementrejects.com/wp-content/uploads/2012/10/return-of-the-fly-fly-laboratory-300x152.jpg" \* MERGEFORMATINET 
The design of The Fly from 1958 film The Fly (1986) is a remake of the original version under the same name in 1958 with slight modifications and improvements. The storyline remains similar to the former case, and the technological aspects are manifested in a very similar way. The last "Brundlefly" animal was planned initially, and after that the different steps expected to convey hero Seth Brundle to that previous incarnation were composed after that. The change was supposed to be a similitude for the maturing procedure. To that end, Brundle loses hair, teeth and fingernails, with his skin turning out to be more stained and uneven. The expectation of the movie producers was to give Brundle a wounded, and carcinogenic look that deteriorates as the character's changed genome gradually States itself, with the last Brundlefly half-breed animal blasting out of Brundle's repulsively crumbled human skin. The animal itself was intended to show up awfully deviated and disfigured and not in the least a feasible or substantial living being. This is a depiction of how technology takes route within the responsibility circles.
The complete 'Brundlefly' metamorphosisHugo (2011) is another technology-directed masterpiece. The visual magnificence all through the film is for the most of it dates from t he rail station setting. The generation outlines shade and light are elevated making it an expressive story world for children world. All things considered, the film remains on the grounds in a conspicuous imagination. Still that way, the film never slips into plain eccentricity. The genuine twists happen when the gathering of people goes all to the stations background. They enter the shrouded rooms and sections which the strande...