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All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use. The analysis below discusses the opening moments of the science fiction movie Ex Machina in order to make an argument about the film's underlying moie.
Essayy text of the analysis is formatted normally. Editor's commentary, which will occasionally interrupt the piece to discuss the author's rhetorical strategies, is written in brackets in an italic font with a bold "Ed. See the examples below:. Then, however, it deviates from this conversation by suggesting that Ex Machina has things to say about humanity before non-human characters even appear.
Off to a great start. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The camera cuts to a few different young men critica, on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them.
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The fourth shot peeks over a computer monitor at a blonde man working with headphones w. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this.
We later learn that writing a critical essay on a movie is Caleb Smith Domhnall Gleesona young programmer whose perspective the film follows.
Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug.
At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses.
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A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances. They give readers the information they will move to understand the argument the piece is about to offer.
While passages like this can risk becoming boring if they dwell on unimportant details, the author wisely limits herself to two criitcal and maintains a driving pace through her prose style choices like an almost exclusive reliance on active verbs. The choice to make the dialogue inaudible suggests that in-person conversations have no significance.]