In Filmosophy Daniel Frampton describes that the medium of cinema, uses imagery as a way of generating new philosophical concepts and ideas (Frampton 2006:10). The use of the image in film is emphasised in philosophical discussion because "Film produces ideas in the precise sense..."; in their pure form, a sort of "languageless thinking" (Frampton 2006:10).
From these ideas The Matrix can be understood in terms of it's philosophical content (in the plot and dialogue) and it's contribution to philosophical concepts through it's imagery (Frampton 2006: 10-11). The Matrix (1999) therefore can contain two levels of meaning - one derived from plot and dialogue and another from style and image.
Although The Matrix appears to contradict Baudrillard's concept of the hyperreal, in fact the imagery of the film is consistent with his theory and expands upon it (Constable2006:234). The Matrix uses the concept of the hyperreal to challenge everyday beliefs about reality through film form and inter-textual references - specifically Baudrillard's Simulacra and Simulation, as well as Alice in Wonderland and Alice Through the looking glass.
In my analysis of the film's capacity to use the hyperreal to successfully challenge our beliefs about reality I will focus on the film's use of mirrors to represent the hyperreal and the analogy of Alice in Wonderland and Alice through the Looking glass and also the significance of the red and blue pill scene in defining the line between dream world and reality.
The Hyperreal
Baudrillard defines the hyperreal as the breakdown of the relationship between the image and the real in the post-modem era (Baudrillard 1994:2, Constable 2006:238, Irwin 2002:226). The hyperreal has replaced the traditional relationship between the image and reality; where the image was seen as an accurate representation of the original
(Baudrillard 1994:6, Constable 2006:238). Now, the representation has become
simulation (Baudrillard 1994:6). Now the image has been so far removed from 'the real' with the overabundance ofimagery in the post-modern world that it has confused the real and that there is no real to get back to (Baudrillard 1994:2). The copy has become more real than the real itself(Baudrillard 1994). The reflection can no longer be distinguished from the real (Baudrillard 1994:125).
In 'The Precession ofSimulacra' Baudrillard poses the question of how to distinguish a simulation of reality from the real (Baudrillard 1994:3). Baudrillard argues that the simulated signs of the real become so intermingled with real signs that the simulation can no longer be told from the real (Baudrillard 1994:3-6).
For Baudrillard, we live in a hyperreal world; there is no real (Baudrillard 1994:12-13). The real has become so distorted by the image, it's simulations and simulacra, that there is no 'original', no real to return to (Baudrillard 1994:125). As Baudrillard describes it "a real without origin or reality: a hyperreal." (Baudrillard 1994:1). "We will no longer even [be able to] pass through to "the other side of the mirror,""(Baudrillard 1994:125).
Cinema, then in the context of the hyperreal is an attempt for us "to reinvent the real as fiction, precisely because it has disappeared from our life." (Baudrillard 1994:124). The real has been abolished and we comfort ourselves, by creating 'fantasy' (Baudrillard 1994:13). Baudrillard uses the example of Disneyland to convey this sense of re-claiming the real (Baudrillard 1994:13). That if we create a place where we can say this is imaginary, this is fantasy, this supports our delusion that the world outside this 'fantasy' is real (Baudrillard 1994:13). That we still retain the real that is our delusion, our hallucination (Baudrillard 1994:13). "For Baudrillard, any attempt to preserve or recreate the real is always doomed to failure" and so Disneyland, Hollywood and cinema's attempts to regain the real are futile (Constable 2006:242).
Cinema is then not only futile in attempting to regain the real, the very nature of it's "fiction infusing reality" blocks our access to the real (Constable 2006:238).
For Baudrillard cinema is analogous to our own attempts to recapture the real he says "cinema is fascinated by itself as a lost object as much as it (and we) are fascinated by the real as a lost referent111 (Baudrillard in Constable 2006:242).
The Hyperreal in The Matrix
The Matrix addresses "one of the central features of [the] post-modem experience: the blurred or vanishing line between reality and simulation." (Irwin 2002:226). This is the hyperreal.
The analogy of the mirror is important for Baudrillard in explaining the concept of the hyperreal (Constable 2006). "Baudrillard uses the image of a curved mirror to explore the political implications of the reversible, circular logic of the hyperreal." (Constable 2006:239).
In 'Baudrillard Reloaded' Constable observes that "it is the hyperreal itself that is presented as mirror, an image that foregrounds its status as simulation" (Constable 2006:239). It is this emphasis on the mirror in understanding the concept of the hyperreal that is used when analysing The Matrix- as mirrors are a significant part of the film's imagery and style.
Constable explains that, "Within the hyperreal, mirrors do not function as reflective surfaces, setting up the possibility of a space beyond as in Alice Through the Looking Glass." (2006:238-239). Mirror do not act as gateways or windows to represent an external world (Constable 2006:238-239).
Instead mirrors function in the hyperreal to express the notion of simulation and the 'double' (Baudrillard 1994).
This notion of an outside, or a place beyond the hyperreal is of importance in analysing The Matrix because Neo's joumey centres on his escape from the matrix for the first half of the film. Also there are many references to Alice in Wonderland and Alice Through the Looking Glass, both in the dialogue, the plot and the imagery.
While the film has been criticised for failing to maintain Baudrillard's concepts by retaining "clear distinctions between illusion/reality and delusion/ truth." I will argue that The Matrix only appears to maintain clear distinctions between illusion/reality and that the imagery in the film actually purports to blur the line between reality and the "dream world" (Constable 2006:239).
The very nature of the way the two opposing worlds of the 'blue pill' and the 'red pill' are shown visually doesn't set them up as opposing worlds 'real'/'non-real'. As
Constable notes, "Neo appears to choose between two different hallucinogenic trips"
(Constable 2006:240). The visual style of the matrix versus the style of the Nebuchadnezzar also supports this idea, that rather than one seeming more real than the other, they both appear highly stylised and illusory (Constable 2006:240). These examples indicate that instead of Neo moving from the matrix to reality, he is just moving to another hyperreal world (Constable 2006:240).
On the surface Neo's journey seems to be the reverse of Alice's journey (Constable 2006:239). Where Alice went from reality into Wonderland, Neo is journeying from the matrix (dream world) into 'reality' - as Morpheus says when Neo arrives on the Nebuchadnezzar "Welcome to the real world" (Gordon in Constable 2006:239). This is a quote that is often used to show the point at which the film diverges from Baudrillard's hyperreal. However closer analysis of the scene where Morpheus offers Neo the choice between the blue and red pill shows that Neo's journey is not that unlike Alice's after all (Constable 2006:239).
The use of colour in the film also has implications for the expression of thehyperreal. Morpheus says "You take the blue pill. You wake up and believe whatever you want to believe", this runs parallel to what actually happens to Neo, he awakens from the matrix into the world of the Nebuchadnezzar and after talking to Morpheus, believes
what Morpheus wants him to believe, he even says "Welcome to the real world". So in fact the crew on the Nebuchadnezzar, have in effect 'taken the blue pill', they want to believe that they've awoken to reality and that they are free. Evidence for this can be seen in the costume design and lighting in the scenes in the Nebuchadnezzar, where most of the clothing is blue or grey and the lighting and machinery have a blue tinge to them.
Red is the bridge between the two worlds, red is part of the machines in the Matrix and the red of the vats in the 'real' world as well as some clothes and lights. Cypher wears red in the 'real world' and red tinted glasses in the matrix. Cypher has in effect taken the 'red pill' he's really seeing "how deep the rabbit hole goes" in exploring the concept of hyperreality and questioning reality. Coupled with his desire to return to the matrix, he is the character that most closely represents the notion of the hyperreal. As Cypher states "I believe that the matrix can be more real than this world." Even his language, his use of the word 'world' suggests that there are multiple worlds rather than the traditional dichotomy.
The Matrix (1999) contains an abundance of references to mirrors and reflections
(Irwin 2002:102). The use of reflective/ shiny clothing, reflective sunglasses, and reflections in mirrors are all important in portraying the fact that the matrix is simulation. The use of colour is extreme importance in the portrayal of the hyperreal in The Matrix.
The scene where Neo sees himself in the cracked mirror is the most overt example of the hyperreal in the film. Neo is reflected with two heads in the mirror and then the mirror seals itself This is analogous to Baudrillard's notion of the double and the idea of simulation and simulacra (Constable 2006:240). Neo's two selves have melded.
Then when Neo touches the mirror it envelops him, further signifying Neo's transformation "he becomes the mirror" (Irwin 2002:102). In doing so Neo defies the concept of the original and the simulation, he becomes a simulacra, there is no longer any distinction between his simulation and his 'real' self(Constable 2006:240).
Reality
Western philosophy generally regards substances as real that there is an
objective substance based reality (Lawrence 2004: 170). The common view of reality is that there is an objective material reality that "exists outside and independent from our minds." (Lawrence 2004:130).
Our everyday common sense view of the world, is that 'this' is reality. What we can see and sense is real. That the world around us exists in physical terms, the way we understand it to. Morpheus mentions this in the film by saying "What is real? How do you define "real"? If you’re talking about what you can feel, what you can smell, what you can taste and see, then real is simply electrical signals interpreted by your brain". The common sense view is that there is nothing beyond reality.
Morpheus' character represents the common sense view of reality, he still uses his senses to determine that the world of the Nebuchadnezzar is the "real world", despite his continual emphasis to Neo that you shouldn't rely on your senses (Grau 2005:25). For example "You think that's air your breathing now?" and "You think my muscles have anything to do with my strength in this place?". Morpheus doesn't follow his own advice
he "frees his mind" so to speak in understanding the illusion of the matrix, but he is still trapped in his belief of the 'reality' of the Nebuchadnezzar.
The film appears to split the real and unreal in a very clear-cut manner, following the traditional division of appearance and reality (Irwin 2002:59). This is referenced in the dialogue using terms such as "real"/"virtual", and "real world", "virtual world" and "dream world" (Irwin 2002:59).
The Matrix - through Neo's journey- "illustrates the need to "question reality"," (Lawrence 2004:20). As Trinity says "It's the question that drives us." (The Matrix). "One of the merits of The Matrix is that it provokes our reflection on this question." (Irwin 2002:63). "Neo experiences a new reality as we experience it along with him." (Irwin 2002:187). The Matrix itself actually encourages discussion and provokes viewers to look at other texts, such as Simulation and Simulacra, Plato's Republic and Descartes Meditations (Irwin 2002:200).
I believe that the film attempts to challenge the audience's everyday concept of reality. While, the film is overt in stating that it is a philosophically driven narrative, it masks it's true intention, with it's more subtle references to Baudrillard's ideas. The film uses imagery, style and inter-textual references to bring into question the notion of reality. On the one hand The Matrix consciously asks the viewer "What is real?" and then more subtly asks the audience through it's imagery and style "What is reality in itself?" and the concept that there is no real.
On the surface level of the narrative The Matrix provides two clearly defined world, but the films form lends itself to the idea that the distinction between these worlds is harder to define.
One problem with the use of reflections in the film is that Neo and the others do not wear glasses outside the matrix and computer programs (Irwin 2002: 102). This is a flaw in the coherence of the hyperreal, this visual gives the indication that there is a distinction between the real and unreal worlds.
Another contradiction to the hyperreal in The Matrix is that it's visual style, inside
the matrix is so visually attractive that it actually encourages the viewer to revel in the hyperreal a sort of "indulgence in exciting filmic simulations." (Irwin 2002:214).
I believe this is a major flaw in the film's use of the hyperreal, which has been pointed out by Baudrillard himself as well as other philosophers. Whereas the film eXistenZ (1999) makes the audience question reality and alludes to the very illusion of cinema, The Matrix distracts the audience from it's own illusion with it's use special effects and camera moves (Irwin 2002:215). The Matrix is a film that gives the illusion that it really questions reality.
The Matrix opts out of really confronting the hyperreal and portraying it to it's full extent. Despite indications of the hyperreal in it's imagery the second half of the film's plot works under the assumption that there is the real world outside the matrix. This is a weak point for the film, it leads the audience on this philosophical journey of questioning reality, and then settles quite happily back into an acceptance based on our perceived physical senses and perceptions in the world of the Nebuchadnezzar.
For these reason I conclude that The Matrix, although successful in bringing into question the nature of reality, it does not fully grasp and use the hyperreal to propose a strong philosophical view. Instead, the film had lofty ambitions that were not fully realised. What the film is successful at is raising questions, and has created vast amounts of discussion on many areas from philosophy and film. The Matrix successfully questions our everyday notion of reality, but doesn't fully embrace the use of the hyperreal to do so.
References
Baudrillard, J (1994), Simulacra and Simulation (translated by Sheila Faria Glaser) Ann
Arbor: University of Michigan Press:USA
Constable, C (2006) 'Baudrillard Reloaded: Interrelating Philosophy and Film via The Matrix Trilogy' Screen, vol. 47, no.2, pp.233-249
Constable, C (2009), Adapting philosophy : Jean Baudrillard and The matrix trilogy
Manchester University Press:New York, NY
Frampton, D (2006), Filmosophy Electronic Resource:Wallflower
Grau, C (2005), Philosophers explore the matrix Oxford University Press: New York, New York
Irwin, W (2002), The Matrix and Philosophy: welcome to the desert ofthe real Open Court Publishing Company: Illinois, USA
Lawrence, M (2004), Like a Splinter in your mind: The philosophy behind the Matrix
Trilogy Blackwell Publishing:Victoria, Australia
Filmography
The Matrix (1999) Andy Wachowski &Lana Wachowski
eXistenZ 1999 David Cronenberg
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