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I'm not so sure the memory was implanted into multiple replicants. I took the "We all wish to be that child" thing to be more of a "We all wish to be the messiah", not literally that specific child from that specific memory. K wants to be special, and I'd assume that all replicants want to be special. But like anything in this movie, it's ambigious. Edit: Although I guess the fact that one eyed lady knew about the dream means something.
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Oct 18, 2017 05:01
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Just got back from seeing the film. Overall I really enjoyed the film minus a couple things at the end that drug it down a bit for me. It was a nice continuation of themes carried over from the original and how the world degrades in the thirty years since then and what Roy Batty and the Nexus replicants began in the first eventually leads to the forthcoming rebellion in this film. I particularly loved the scene near the end where K sees that Joi hologram and realizes he subconsciously constructed her from a VR commercial and her personality, and even naming him Joe, just kind of expanded out from that. That being said holy poo poo do I loving hate that "villain leaves the hero alive for no good reason when they are COMPLETELY at their mercy just so he/she can come back later because the plot demands it" trope. And it happened TWICE in the last drat 30 minutes, first when Luv kicks the poo poo out of K at Deckard's place but leaves him alive and unconscious for the rebels to scoop him up, then AGAIN in the final battle where she stabs him and leaves him gawking at her on the shore. Miss Terminator breaks the morgue guy's neck with a karate chop and eviscerates Robin Wright's Police Chief character but two times doesn't bother to finish off a fellow replicant that's a BLADE RUNNER and an obviously trained killer like her. At least one of those scenes really should have been written slightly differently, I threw my hands in the air when she stabbed him near the ocean then walked away scoffing like it wasn't completely going to backfire on her in short order. It felt so drat lazy in what otherwise was a pretty good and well thought out film.
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Oct 18, 2017 07:49
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Ragnarok the Red posted:That being said holy poo poo do I loving hate that "villain leaves the hero alive for no good reason when they are COMPLETELY at their mercy just so he/she can come back later because the plot demands it" trope. And it happened TWICE in the last drat 30 minutes, first when Luv kicks the poo poo out of K at Deckard's place but leaves him alive and unconscious for the rebels to scoop him up, then AGAIN in the final battle where she stabs him and leaves him gawking at her on the shore. Miss Terminator breaks the morgue guy's neck with a karate chop and eviscerates Robin Wright's Police Chief character but two times doesn't bother to finish off a fellow replicant that's a BLADE RUNNER and an obviously trained killer like her. At least one of those scenes really should have been written slightly differently, I threw my hands in the air when she stabbed him near the ocean then walked away scoffing like it wasn't completely going to backfire on her in short order. It felt so drat lazy in what otherwise was a pretty good and well thought out film. Yeah, I didn't like that either. The first half of the film and the last half almost feel like they're written by different people.
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Oct 18, 2017 07:55
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Watched most of it again(started to nod off at the 2 hour mark and knew id pass out if i stayed) Couple things 1. Iirc, someone else mentioned this. Joi is customizable. I'd like a screenshot of that customization screen to see what the settings are. But she appears to be the default for K. 2. The prostitute definitely says " from the dream" when she checks it out. To me, this is another piece of the subtle feminist view of the film. Ks motivations, the replicant revolutionaries, they come from one woman sharing that memory with so many replicants. She essentially creates the motivations needed for the movie to transpire because a) she's amazing at her job and b) she stood against Wallace and won already. 3) this is the first movie that I've ever experienced where I think IMAX isn't just novel, it's the definitive way to watch the film. The oppressiveness of the loud, distorted IMAX theatre really added to my first viewing. To the point where my second, Dolby viewing was almost disappointing.
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Oct 18, 2017 08:37
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I figured she kept K alive because he's the only one who knows the identity of the child besides Deckard, and there's a pretty good chance Deckard won't talk. They still need him alive, regardless of how much of a threat he can be (and she underestimates how much of a threat he is; he's just a "bad dog", and she still thinks "I'm the best one" to the end).
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Oct 18, 2017 08:45
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Nasgate posted:1. Iirc, someone else mentioned this. Joi is customizable. I'd like a screenshot of that customization screen to see what the settings are. But she appears to be the default for K. K is the sort of person who only uses Ken in Street Fighter and sticks to playing Soldier-Bro-Shep in Mass Effect.
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Oct 18, 2017 11:18
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Nasgate posted:2. The prostitute definitely says " from the dream" when she checks it out. To me, this is another piece of the subtle feminist view of the film. Ks motivations, the replicant revolutionaries, they come from one woman sharing that memory with so many replicants. I wish this was the case, but other people on line are saying that subtitles confirm that she says "from a tree". Maybe this is the new "father/fucker".
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Oct 18, 2017 13:53
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Ragnarok the Red posted:Just got back from seeing the film. Overall I really enjoyed the film minus a couple things at the end that drug it down a bit for me. It was a nice continuation of themes carried over from the original and how the world degrades in the thirty years since then and what Roy Batty and the Nexus replicants began in the first eventually leads to the forthcoming rebellion in this film. I particularly loved the scene near the end where K sees that Joi hologram and realizes he subconsciously constructed her from a VR commercial and her personality, and even naming him Joe, just kind of expanded out from that. The morgue guy and the police chief were just simple grunts that were in her way and could create complications by reporting her. K is someone she has personal spite for and who she has to prove that she is better than. Leaving him alive is to torture him and let him see just how good she is. He is already being hunted by the authorities in either case so he has no ability to ruin her plans. She clearly takes a specific sort of glee in her altercations with K. She's framed as an emotional child closer to the replicants from the first movie.
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Oct 18, 2017 14:42
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Has anyone commented on the bit where, and maybe I'm getting this line wrong, she shouts "I'm the mastermind!" as she walks back to her car to continue doing her master's bidding? (By the by, it would not at all surprise me if Wallace's "genius" for organization was a result of illegally making a team of replicants to figure it out for him.)
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Oct 18, 2017 15:15
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Halloween Jack posted:Has anyone commented on the bit where, and maybe I'm getting this line wrong, she shouts "I'm the mastermind!" as she walks back to her car to continue doing her master's bidding? She walks away saying "I'm the best one", referring to what Wallace said to her earlier in the film.
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Oct 18, 2017 15:16
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I wish localization wasn't as stringent as it is today for big budget stuff so that on top of this we could have a situation like the original Blade Runner where there's some drastically different English subtitles/translations available that are all official.
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Oct 18, 2017 15:21
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Serf posted:She walks away saying "I'm the best one", referring to what Wallace said to her earlier in the film.
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Oct 18, 2017 15:23
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gohmak posted:It's so much cooler when you like the movies I like. Blade 2 has a rather good score, and I appreciate the blatant miniature effects. The issue is that, altogether, it’s a less rigorous sci-fi film than Spectre (a film that it otherwise very strongly resembles). Like, they already made the definitive ‘holographic celebrity’ movie back in 2002, with SimOne. And people have also pointed out how Blade 2 rips off Her. I don’t mind ripoffs, but this film doesn’t have the basic plausibility of either of those. SimOne is ‘just’ a Michael Jackson hologram, and the OS in Her is ‘just’ an iphone. The films then take those technologies to a logical extreme to argue how they might become artificially intelligent, alien creatures. Blade 2 just depicts a fantasy woman. The list of better films is unfortunately rather long.
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Oct 18, 2017 16:03
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Dude you can't just call Blade Runner 2 "Blade 2". Edit: I realize this is probably a "trap sprung" moment where you're actually talking about Blade 2...
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Oct 18, 2017 16:17
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Imagine if you merged the two movies, and got that great soundtrack and Donnie Yen. A man can dream.
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Oct 18, 2017 16:21
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It's very confusing because I'm trying to decide if I like Blade Runner 2049 or Blade 2 more. Tough call.
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Oct 18, 2017 16:24
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Nasgate posted:2. The prostitute definitely says " from the dream" when she checks it out. To me, this is another piece of the subtle feminist view of the film. Ks motivations, the replicant revolutionaries, they come from one woman sharing that memory with so many replicants. It's "from a tree". I thought it was dream at first too, but realized that was probably me filling in blanks because of context. When I watched it a second time I was paying closer attention, and I can say without ambiguity that she said 'tree'. For your second (third) point, I thought Dolby is supposed to have better sound than IMAX?? It's got all the fancy speakers and everything. What's the deal
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Oct 18, 2017 16:41
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So I've been thinking a lot about Luv and the the scene where Niander kills the newborn replicant in front of her. While I was watching the movie, I wasn't sure what to think of it, because I didn't have much context for either character. But after reflecting on the movie for 2 days now, I have an interpretation that I'm quite happy with. My initial impression was basically that Niander is examining a new replicant, and casting it aside because of course it can't do what he wants. Despite his complaints that he can't produce replicants fast enough, a single one is still nothing to him. One of his camera drones closely observes Luv to see her reaction to this. I wasn't sure what the dynamic was here. Was Luv's tear shed for the death of the replicant, and was she being observed to see if she was sypathetic of upset with Niander? After thinking about Niander and Luv's behavior throughout the rest of the film, I now think that the entire scene was designed by Niander to give Luv motivation. Not as a threat, but to cultivate an emotional drive in her. When she first returns to Niander, his criticizes her lack of enthusiasm "Can you not at least say "A Child Is Born"?" She has a mission, but it is like any other. Then he takes her before the new replicant, shows her the non-miraculous birth, and describes everything that would be possible if they had the key to natural replicant reproduction. Then he demonstrates the sad and limited state of the current models. Her emotional response was desired. The tear wasn't something that indicated weakness, it indicated emotional investment in the goal. He didn't make her to be a terminator, he made her to be a zealot. It's like in the first film, during Leon's Voight-Kampff test. The replicant emotional response to hearing about the plight of a turtle is to become upset that they are not helping. Niander describes the plight of humans and replicants alike and and says "your task is key to helping". We see this manifest later when he attack Joshi. She says that she will lie to Niander and say that she killed Joshi in self-defense. This means that her undying loyalty isn't to Niander, but to the mission. In some sense, she's being naive, because of course replicants mean nothing to Niander, but from her perspective, Niander wants to uplift them, while the LAPD wants to confine and limit them. Even though Niander's goal is to expand the use of replicants as a slave caste, he allowed her emotion and gave her purpose. Luv doesn't know about the resistance, she only knows about the child and that Niander wants to unlock the potential of replicants and the LAPD wants to destroy it. I think this is also why she lets K live. She may consider herself superior to him, but she wants him to see the light. She wants to uplift him. She wants him to realize his potential. I think that's part of why she kills Joi in front of him. Not just to punish him, but to mirror Niander's teaching method.
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Oct 18, 2017 18:17
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Halloween Jack posted:Oh God, that's so sad. It really is, she’s just an emotionally unstable kid trying to impress and emulate ‘daddy’ in the end, and pays for it very heavily by loving with the wrong replicant.
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Oct 18, 2017 18:20
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Ragnarok the Red posted:Just got back from seeing the film. Overall I really enjoyed the film minus a couple things at the end that drug it down a bit for me. It was a nice continuation of themes carried over from the original and how the world degrades in the thirty years since then and what Roy Batty and the Nexus replicants began in the first eventually leads to the forthcoming rebellion in this film. I particularly loved the scene near the end where K sees that Joi hologram and realizes he subconsciously constructed her from a VR commercial and her personality, and even naming him Joe, just kind of expanded out from that. Huhh why didn't Freddie just kill ALL the teens by scooping them into a bed hole like Depp? He would have never been defeated that way,.
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Oct 18, 2017 21:09
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SuperMechagodzilla posted:I’m not interested in moralistic condemnation of individuals. I’m talking about the ideology of the film that, despite obvious christological themes, is almost solely preoccupied with a particular love for friends, family, etc. Wanted to wait until a second viewing before writing anything down, so playing catchup here - also forgive me if this is a bit clumsy, just liked this as a point to jump in on. Belief is quite obviously the central theme and it's quite direct in how it tackles the function of cynical ideology in relation to belief.  "A child of woman born, pushed into the world, wanted, loved." "I know very well what I'm doing, but I'm still nonetheless doing it'”(Z) - "I feel a little strange telling a childhood story, considering I was never a child." Joe knows he's a replicant, that he was born in a factory, manufactured and that his memory is implanted - he just doesn't believe this makes him real, authentic. The detached affect is the manifestation of this brutal cynicism as a means of self justifications and survival - it's all too real. Joe holds onto a small dream that he is a real boy. His symbolic reality is constructed around Joi who acts as both fetish and subject supposed to believe. Serving to maintain the gap in order to keep the proper distance and pass the baseline. It's cynical ideology laid bare, the inner-homelife he's constructed and likes to keep private is in a very direct way visually and thematically connected to Ana - who lives in a kind of opaque cupola creating the false memories in order to help replicants structure their reality. Creating joy "I can't help with your future, but I can give you good memories to think back on and smile." The gap that facilitates a stable product. The fantasy of this inner life is built upon this dream, which he's told Joi many times; But things break down when he starts to lose the gap and believe the dream is real, it becomes nightmarish - his past as a bladerunner comes back to haunt him, so to speak. This is where the second baseline interrogation comes in "what's it like to hold the hand of someone you love, interlinked" and Joe's relationship with Joi takes on a physical dimension "you were right about everything." Which ends in a punchline after Joi-Mariette approaches him, it cuts outside the building to a billboard advertising Joi and everything you want to hear. It's important to note Joe's Relationship with Joi isn't simply defined in relation to Mariette, but also Luv. She monitors Joe through Joi, omniscience isn't something that offers Joi freedom. The Star Wars and Elysium mashup/homage where tusken raiders shoot down the flying bugatti car also points to this, after Joi glitches and disappears in a panic we get Luv casually calling in a drone strike. The miracle here is that Joi does love him, her attachment makes her mortal but she can't escape on her own. Chappie’s Yo-Landi stands as a frame of reference for Joi's mortality.   "All those moments will be lost in time, like tears in rain." Also funny that after breaking the antenna Luv storms off in a tantrum. Another hard to place or strange image that stands out here is the opening shot of an eye along with the satellite view of solar fields, that at least initially take on the semblance of a mechanical eye. This tension between the lived memory and an implanted one is wrapped up in this idea of authenticity, the authentic experience. Deckard's "her eyes were green" condemns a woman to die, but i'm not convinced it's due to particularity.The intent was torture, where she is considered entirely disposable and subhuman by Wallace, Deckard knows the horror of this. It's not casually shrugged off, in fact he considers himself the one who should die, that scene comes back to "sometimes to love someone you gotta be a stranger." Loved the movie, just glad to have this come out alongside Covenant and Ghost in the Shell. brawleh fucked around with this message at 00:08 on Oct 19, 2017 |
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Oct 18, 2017 22:09
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BarronsArtGallery posted:you should write the script for the direct to DVD asylum version so we can all get drunk and laugh at it ok where do I sign up? Working title: Blade Trinity: Sad about Bad Dads
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Oct 18, 2017 22:21
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Incidentally, Sean Young has brown eyes.
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Oct 18, 2017 22:23
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Arglebargle III posted:Incidentally, Sean Young has brown eyes. Rachael's V-K retina scan is of a green eye, though.
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Oct 18, 2017 22:28
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SuperMechagodzilla posted:The only way to redeem this silliness is to assert that Joseph is specifically programmed not to think about the factories - and, moreover, that he cannot think about the fact that he is forbidden the think of them. And, so, the way to challenge this programming is to do exactly that: to think of where things come from, and who is doing the work. This doesn't follow at all, there's no reason to speculate that K/Joseph has any memories of "factories" whatsoever, so there's no need to suppress anything. Whatever the slow process of creating a replicant is, it isn't a full 25 years. We could equally speculate they're in a chemically-induced coma while their brains are being programmed. In fact all we've seen is they come out of ziploc bags covered in slime, I would especially hope they weren't aware.
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Oct 19, 2017 00:05
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Did anyone else automatically/subconsciously replace “Joi” with “jerk off instructions” every time the name showed up
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Oct 19, 2017 00:19
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Snak posted:So I've been thinking a lot about Luv and the the scene where Niander kills the newborn replicant in front of her. I like this interpretation. When I first watched it I thought Luv's tears meant she was very conflicted emotionally - essentially wanting to rebel against Wallace but being unable to, but to me this fits very well. I'll have to consider this next time I watch the movie.
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Oct 19, 2017 00:36
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 last week I got my Art of Syd Mead book in the mail and really enjoyed looking through it. My favorite part was seeing the concept art for my favorite unfilmed scene from the first film: where after Batty kills Tyrell, he turns to Sebastian and asserts that was a replicant, then Sebastian takes him to the cryogenic freezing room where the real Tyrell's body had been dead for years after a power outage destroyed his cryopod. That scene has always lit my imagination up, and I imagined how moody and tragic and weird and bittersweet it all would be.Well I'm listening to the terrific Q&A with Jeff Goldsmith episode where he's interviewing Fancher & Peoples about their early drafts. One of them mentioned that after Ridley came to him with the idea of the scene, he suggested that instead of a cryopod that Tyrell's brain had been digitally transferred to the brain of a shark and that Tyrell had been swimming around in a shark's body for years deep in the depths of the Tyrell Corporation. Also, the podcast is great just because Fancher and Goldsmith are constantly (mostly jokingly) sniping at each other and how much the other ruined their drafts of the screenplay, since they kept going back and forth. Apparently both of them thought the other wrote the terrible voiceover track until after they watched the first cut. e: Also, side note: as referenced in Goldsmith'ss podcast, apparently you can just go into the Margaret Herrick Library in Hollywood and read first, second, etc. drafts of screenplays that have never been available publicly. They have early drafts of The Phantom Menace according to their site search! feedmyleg fucked around with this message at 01:42 on Oct 19, 2017 |
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Oct 19, 2017 00:50
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Boris Galerkin posted:Did anyone else automatically/subconsciously replace “Joi” with “jerk off instructions” every time the name showed up
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Oct 19, 2017 00:59
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feedmyleg posted:
If I made a lunch field trip to here, what else should I look up?
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Oct 19, 2017 01:20
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zygnal posted:In fact all we've seen is they come out of ziploc bags covered in slime, I would especially hope they weren't aware. The ziploc bag is a container for transporting the Replicant product. The Replicants have to be constructed or produced, so Wallace is merely opening up packaging. Like what you see in the Verizon ad for David 8 when he's packaged and surrounded by Styrofoam popcorn. Though the notion I have of K is that he's as much in a false consumer reality and in a perpetual refractory period where nothing brings him pleasure whatsoever. Meanwhile he's surrounded by images and objects which try to deliver pleasure constantly, though I doubt that's really profound given that he's a product that buys a product which he buys a product for which then buys a product to actualize what it's supposed to offer in the first place. Which is, Joi is a housewife with "in app purchases", which makes me like the observation that K has likely been given Joi to be more controllable and a good consumer. I think this idea of how he fell into false reality is probably the more interesting part of the film. He does realize that "Joi" is a hologram, but by that point he seeks meaning through indoctrination of the resistance. But the things the resistance represents still maintain the problems that were part of what led to why the images in the film even exist. When Mariette implies Joi isn't a "real" girl, Mariette is merely bolstering her position in oppression by failing to give something as manufactured as she is the same consideration. But I am at least fascinated by the images within the film related to this because the hedonism at least touches on a la carte criticisms. Such as Anita Sarkeesian's form of feminism which is more about seeing a dystopia and somehow wanting to participate in that gently caress up because that's what the art is there for, for satisfaction. So the whole "Everything you want to hear" at least seems to make me think of this sort of hedonism. As if someone watched Blade Runner and thought Roy Batty would stop rebelling if Tyrell actually did just give him more life. Corrosion fucked around with this message at 01:27 on Oct 19, 2017 |
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Oct 19, 2017 01:24
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Steve Yun posted:If I made a lunch field trip to here, what else should I look up? That's such a difficult question. I just want to spend a week pouring over dozens and dozens of early screenplay drafts. They've got a lot from my initial search, but not my holy grails (the pre-Kasdan Empire Strikes Back, the full Assassination of Jesse James script, etc). But before you go, you can search their collection on their site. Apparently Goldsmith also used the Writers Guild Foundation Library. My industry friend said he didn't think the Herrick Library needed credentials or anything to go to, but the WGA might. I know Goldsmith is a screenwriter so maybe he was able to access that collection in a way we wouldn't. In terms of Blade Runner I'd vote for looking up any more hints about what the off world colonies were like, what the world outside the city was like, any details about replicants in society, and societal bias against replicants. Bits and pieces of that are available in drafts that are searchable online, but Goldsmith talked about things that were cut out before those drafts. e: But, uh, yeah. The most important thing I saw in my search was an early Phantom Menace draft. Would love to hear more definitively about how that changed. e2: Just reread what I wrote, and to clarify: Ridley wanted the scene to be about the cryopod. Which ever writer it was wanted the shark. Needless to say, Scott's viewpont won out til it was cut. feedmyleg fucked around with this message at 02:34 on Oct 19, 2017 |
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Oct 19, 2017 01:27
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Battle Rockers posted:I like this interpretation. When I first watched it I thought Luv's tears meant she was very conflicted emotionally - essentially wanting to rebel against Wallace but being unable to, but to me this fits very well. I'll have to consider this next time I watch the movie. It fits with the later scene where Niander asks Deckard if he had considered that his initial meeting with Rachel has been orchestrated to produce the specific response towards its eventual outcome. It sets up this idea that Niander thinks in terms of emotional catalysts for action. That scene is also the second time that Luv engages in killing someone in an attempt to make a point. This all kind of sets up how Luv's world view is somewhat the opposite of what K discovers about life. In Niander's "lesson", he destroys a limited being to emphasize the potential an unlimited being would have. He espouses the greatness that would be possibly if replicants could have children, and then slices the replicant across her barren womb, driving how that this was always the death she would have; one without a legacy. So when Luv sees Joi's mortality, she sees another weak, limited being that cannot produce a legacy, and she kills it. I think in some way she hopes that this will awaken K to the fact that he never had a future with Joi and she was just a thing. We know how Mariette feels about Joi, it wouldn't be surprising if many replicants, including Luv, in general look down on other forms of artificial persons. Finally, when the new Rachel is presented to Deckard, she only has value if she is an emotional catalyst for Deckard to help with the mission. When this doesn't work, she is immediately an inferior and limited object to be destroyed as a lesson to Deckard. Luv is a pro-replicant zealot, who has invested herself in the idea that limitation is weakness, and that only those who are willing to seize their potential are worthy. I guess in some sense she's an objectivist. But more importantly, she sees the "fake" as having no value. K, in contrast, realizes that the "realness" or "fakeness" of something has no absolute value and that only thing that matters is how he feels about it. Which brings me to the other scene that lots of people have talked about, the scene where K interacts with the giant Joi advertisement. While I'd have to see the movie again, I feel like what's going on there is this: When he first sees the big hologram, he stops because he misses Joi. When she gives her sales pitch, he realizes that his Joi is irreplaceable. Even if he could buy a new Joi who was identical to "the Joi who loved him", it wouldn't be the same to him. Even though his fake girlfriend is a mass-produced product, his relationship with his was special, and his is dead. And I think that fits into the whole ending. K realizes that he lived a human life, even if there are people who would say was fake, his childhood memories informed and shaped who he was, his girlfriend was loyal and supportive, and she was killed in front of him. He ultimately died fighting for what he believed in. He was at peace. Back to Luv for a moment. Luv believed that she was the best. She was confident in this and she proved it many times. She operated outside of the law, and even operated outside of Niander's wishes. She thought she was special. The one who would unlock the key to uplifting the replicants, but she associated this specialness with her superiority. When K refuses to succumb to his wounds and instead kills her, she realizes at the moment of her death that she is not the best, and is therefor not special. It's the reverse of K's realization.
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Oct 19, 2017 01:27
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Steve Yun posted:If I made a lunch field trip to here, what else should I look up? Oh, also, they kept referencing a scene where Leon and Deckard originally met, a "cockroach scene" in a diner. Would love to know more about that.
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Oct 19, 2017 01:39
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They were just hanging out, like bros do, eating the protein bars from Snowpiercer.
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Oct 19, 2017 01:41
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feedmyleg posted:
The original opening for Blade Runner is interesting too, it got storyboarded and everything but wasn't actually filmed, however they actually used it in Blade Runner 2049. The opening where we see the massive automated farming followed by a replicant walking into his home and offering some soup to the bored blade runner that's already sitting there.
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Oct 19, 2017 02:08
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Snak posted:It fits with the later scene where Niander asks Deckard if he had considered that his initial meeting with Rachel has been orchestrated to produce the specific response towards its eventual outcome. It sets up this idea that Niander thinks in terms of emotional catalysts for action. That scene is also the second time that Luv engages in killing someone in an attempt to make a point. Joe notices the giant advertisement after he hears the ringtone, but it's distorted - off key, also of importance is that the scene follows on directly from the execution of Rachel; But just wanted to hone in on this and take it a touch further. In Blade Runner the ideology is structured in the, as Zizek says old Marx sense of ideology "they don't know what they are doing, none the less they are doing it." Rachel believes her memories of the past are an intimate thing, then Deckard dehumanises her by casually spouting off memories she never told anyone. 2049 is squarely in the space of "they know very well." Wallace's whole speech about how the child, the miracle of love was all simply a product of objective circumstance is again the cynical function of ideology on display. This goes hand in hand with the depictions of sex, the multiple settings for Joi and so on. Wallace idea is of love without the traumatic event, without the fall. In contrast this again emphasises the importance of Joi's decision to become mortal. "Let's take the English riots of 2011, the standard liberal explanation really sounds like a repetition of officer Krupke song. We cannot just condemn these riot as delinquent vandalism. You have to see how these people live in practically ghettos, isolated communities, no proper family life, no proper education. They don’t even have a prospect of regular employment; But this is not enough because man is not simply a product of objective circumstances. We all have this margin of freedom in deciding how we subjectivise these objective circumstances which will of course determine us. How we react to them by constructing our own universe." -Zizek brawleh fucked around with this message at 02:31 on Oct 19, 2017 |
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Oct 19, 2017 02:27
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I figured the "ziplock bag" was just a modernised version of this: https://www.youtube.com/watch?v=dt7twXzNEsQ
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Oct 19, 2017 03:08
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So many of the supporting cast are amazing in this film. Sapper (Bautista), Joi (Ana de Armas), Mariette (Mackenzie Davis), and maybe my favorite of all, Dr. Stelline (Carla Juri). They all have great scenes throughout but the scene between Stelline and K might be my favorite in the whole film, some really great acting between the two of them. Really liked Barkhad Abdi's small part too, he deserves more roles.
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Oct 19, 2017 03:18
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starkebn posted:I figured the "ziplock bag" was just a modernised version of this: I mean, there was a direct visual quote in this. Which is Blade Runner 1.5.
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Oct 19, 2017 03:44
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