Discuss How Film Codes and Conventions Construct a Representation of the Monstrous in a Film You Have Studied.
Discuss how film codes and conventions construct a representation of the monstrous in a film you have studied.
Film code and conventions construct a representation of the monstrous in the movie In time, as we see not an archetypal monster, not ugly, nor gruesome, nor disgusting. We see how Andrew Niccol brings and portrays society as the monster. Produced in 2011 on October the 28th, In time is a 2011 dystopian science fiction action film which takes place in the year 2026, where humanity has evolved from today’s time and age. Directed by Andrew Niccol, through film codes and conventions, he constructs society as the monstrous, by letting society hold the cards, leaving them to decide how long you live.
In time, taking place in the future, where humanity has been genetically engineered to stop aging at 25 and to be born with a digital clock, bearing a year’s worth of time, on their forearm. At the age of 25, the clock begins the countdown, and, as all timers work, when the clock reaches zero, that person dies. Time has turned to take place of the currency, once can give time for products or services, as well as transfer it to others. Immortality could be reached. But, with all these, society still has to have order, and the timekeepers. We are first introduced to them by Raymond Leon, the Timekeeper watching Will Salas, a 28 year old Dayton factory worker, suddenly shows up with 116 years on his clock. Through a hidden CCTV, Leon sees Henry Hamilton, a rich, drunken and suicidal 105 year old, spend his last moments with Will Salas. Naturally, with 116 years floating around the system, Leon shows to intervene, just after Will joins Philippe Weis’s club, gambles all but 30 seconds of his lifespan, and it pays off, earning him another 1100 years. Seeing this, Leon confiscates all but 2 hours of Will’s time, giving him just enough so he can’t escape. Leon comes to a conclusion that those years which Will was given, was going to be taken back, so as to not
Film code and conventions construct a representation of the monstrous in the movie In time, as we see not an archetypal monster, not ugly, nor gruesome, nor disgusting. We see how Andrew Niccol brings and portrays society as the monster. Produced in 2011 on October the 28th, In time is a 2011 dystopian science fiction action film which takes place in the year 2026, where humanity has evolved from today’s time and age. Directed by Andrew Niccol, through film codes and conventions, he constructs society as the monstrous, by letting society hold the cards, leaving them to decide how long you live.
In time, taking place in the future, where humanity has been genetically engineered to stop aging at 25 and to be born with a digital clock, bearing a year’s worth of time, on their forearm. At the age of 25, the clock begins the countdown, and, as all timers work, when the clock reaches zero, that person dies. Time has turned to take place of the currency, once can give time for products or services, as well as transfer it to others. Immortality could be reached. But, with all these, society still has to have order, and the timekeepers. We are first introduced to them by Raymond Leon, the Timekeeper watching Will Salas, a 28 year old Dayton factory worker, suddenly shows up with 116 years on his clock. Through a hidden CCTV, Leon sees Henry Hamilton, a rich, drunken and suicidal 105 year old, spend his last moments with Will Salas. Naturally, with 116 years floating around the system, Leon shows to intervene, just after Will joins Philippe Weis’s club, gambles all but 30 seconds of his lifespan, and it pays off, earning him another 1100 years. Seeing this, Leon confiscates all but 2 hours of Will’s time, giving him just enough so he can’t escape. Leon comes to a conclusion that those years which Will was given, was going to be taken back, so as to not