>>
| >> BEGIN TRANSMISSION | . | . | . | . |
>> INFRASTRUCTURE .. OK
>> DATA ............ OK
>> GRAPHICS ........ OK
>> COMMUNICATION ... OK
>> COMPATIBILITY ... VERIFY
| >> LOADING | . | . | . | . |
>> ROBOTS AND MECHANIZED CREATURES
>> JOHN LEE_
| >> BUILDING INDEX | . | . | . | . |
>> INTRODUCTION
>> HUMANITY
>> INTEGRITY
>> SOCIO-POLITICS
>> CONCLUSION
>> PDF COPY
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>> //?RBT_MCH/INTRODUCTION
| >> | ROBOTS AND MECHANIZED CREATURES convey a dual condition, alternating between optimism (technological advancement) and dystopia (human subordination, dehumanization). It becomes apparent that a sense of humanity lost is at the centre of the dystopic environments in the course films. Future portrayals - for instance, Blade Runner, Metropolis, Brazil, and Alphaville - convey dystopia through an uneasy tension between man and machine, and are polarized by technological advancement. |
| >> | Other films, including The Cabinet of Dr. Caligari, Leger’s Ballet Mecanique, and A Clockwork Orange, violate the irreplaceability of humanity, stripping away idiosyncrasies until the lines between man and machine are blurred. Robots and mechanized creatures are never explicitly introduced; instead, these films explore ways in which humanity can be manipulated. |
| >> | Thus, from the polarized specificities of the relationship between man and machine evident in futuristic films emerge contempoary socio-cultural implications, including politics, social responsibility, and architecture. |
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