The Matrix An Exemplary Postmodern Film

The Matrix is a film bursting with imagery and ideas that attempt to convey the principles of Baudrillard's postmodern theory. The film, released in 1999, directed by Andy Wachowski, displays a range of examples that not only highlight its postmodernity, but also indicate that Wachowski purposely tried to make the film postmodern. In terms of Hyperreality, The film describes a future in which reality perceived by humans is actually the Matrix: a hyper reality created by sentient machines in order to pacify and subdue the human population while their bodies' heat and electrical activity are used as an energy source. Upon learning this, computer programmer Neo is drawn into a rebellion against the machines. In addition, the inclusion of Pastiche highlights a further sense of hyper-reality. The film contains many references to the cyberpunk and hacker subcultures; philosophical and religious ideas; and homage to Alice's Adventures in Wonderland, Hong Kong action cinema and Spaghetti Westerns. In Postmodern thought, interpretations of The Matrix often reference Baudrillards philosophy to demonstrate that the movie is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially of the developed countries. This influence was brought to the public's attention through the writings of art historians such as Griselda Pollock and film theorists such as Heinz-Peter Schwerfel. The Wachowski Brothers, the directors, were keen that all involved understood the thematic background of the movie. For example, the book used to conceal disks early in the movie, Simulacra and Simulation, a 1981 work by the French philosopher Jean Baudrillard, was required reading for most of the principal cast and crew. The Matrix Trilogy works specifically within the postmodern theory of Jean Baudrillard, whose Simulacra and Simulation makes its appearance in The Matrix in the "Follow Instructions" scene. Neo opens a copy of Baudrillard's Simulacra and Simulation to a chapter entitled "On Nihilism." The hardcover book is hollow, serving as Neo's hiding place for black market software. He opens the book at the halfway point; the opening page of the final chapter, "On Nihilism," lies to the left while the right half is a hollowed out storage area. First note that the opening page of the chapter was displaced to the left side of the book when it would normally be found on the right. Add to this the fact that "On Nihilism" is the book's last chapter, not a middle chapter, and it appears that the directors have deliberately placed this chapter in the shot to direct viewers to a specific referential point for the film. Baudrillard's Simulacra and Simulation, in fact, is so intricately woven into the narrative structure that the movie can be described as a conscious validation of Baudrillard's theory. Evidently, it is clear that The Matrix is a postmodern film. The narrative of the film lends itself to this theme, and as such its postmodernity is clear. Not only is there evidence of unintentional postmodernity, but also the inclusion of purposely placed postmodern scenes, such as the inclusion of a book by Bauldrillard. Personally, I believe that The Matrix is a truly exemplary postmodern film at its core, due to the fact that it follows a range of conventions that can be expected in a postmodern film.