WALL-E: A Movie Displaying a Likely Future
In a world today where humans litter even the minute of a thing such as a simple can of soda, where students rely solely on calculators and computers to complete class or school work, moreover; small businesses present day cannot even thrive due to the dominance of corporations in the world. Thus, the direction society is headed is a future that is doomed to over consumption, an overbearing reliance on technology and corporate capitalism. With that said, there is a clear distinction between the trend society has today and where earth is headed as depicted within the society and earth in the movie WALL-E. The film, Wall-E, suggests that this movie highlights the catastrophic warning against environmental destruction and the state to which humans can succumb to and Wall-E’s character. These points are aided by visual elements, specifically through color and scope, as well as through sound and music. The movie Wall-E, warns our society incessantly about environmental destruction and the dangers of corporate capitalism. In the opening scene of Wall-E the viewer is enthused by the ridden trash filled Earth, trash skyscrapers are higher than the skyscrapers themselves and lakes and rivers are barred with oil. This scene seems more eerie due to the dark contrasting colors associated with the dull planet when we enter the first scene. The brownish sort of mucky color results in the viewers identifying the root cause of the dullness, one should realize it’s a combination of the over consumption on the planet and Buy N Large Global takeover that has resulted in this epic downfall of mother earth and its inhabitants. We find this Buy N Large so prevalent once the story takes us aboard the Axiom. Literally advertising is everywhere from the mall, to the machines that are teaching the babies aboard the ship, A is for Axiom, B is for Buy N Large this is where the brainwashing begins. The robots take care of every little thing...
Bibliography: < McGraw & Hill. The art of watching films. New York. 2012. Print>
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