Final scene is in a garden world for an esoteric allusion: the "crate" and chicken power bring Mad Max back to the "Green Gorge," as Gibson's rooster gets to settle down to domesticity in a greenworld strongly conrasting the chicken farm prison camp; see below, The film may suggest that the transcendence of flight is valorized only so far as it leads to the immanence of the Garden and family life—which gets funny in a film about chickens, two roosters, and a couple of rats who steal tools but don't use them. Cronenberg (no mucous and a suggestion of feudal and ecclesiastical grandeur—and a fascistic esthetic for the villains).
Nemo starts the show with one (as we learn fairly far into the first episode), then the French-scientist hero gets one after rebelling against Nemo (his adopted father-figure).** Film features a number of robots—including Jude Law's "Gigolo Joe," sex-toy robot—and a theme of "mecha" vs. organism, along with very real hatred of machines by many humans and the literal replacement of human beings by highly advanced robots (both similar to themes in I.
Asimov's robot series, with imagery of the destruction of machines in the cyberpunk, boy?
is of interest, contrasting on Earth a thoroughly modern and Modernist new Chicago with a wasteland with the standard-issue post-Apocalypse (here called "Holocaust") mutant monster-folk—and contrasting the high Modern, Terran-American city with the Oriental decadence of the invading Draconian ship (see Caution below). Theopolis ("God City"), has a male voice, but one that makes HAL 9000 sound macho ; Theopolis also has a strong interest in Buck, hinting at a homo/mechano-erotic subtextual gender-bender" of some complexity and interest (any attraction, however, is one way and must, necessarily, remain Platonic; Buck and Dr. See for anthropomorphized cars replacing beasts in the beast fable and for a G-rated vision of machine rule: the one threatening machine is a combine—a hippy voiced by George Carlin sells organic fuel, for a possible explanation of what is farmed—and even the attack-combine has the motivation of protecting cow-analog tractors.
Significant here for images of a water torture cell in which female victims are videotaped by automatic cameras: the male gaze demonized and made electronic; also for images of dreamscapes inside the minds of people inside rigid suits inside a laboratory watched by technicians whose instruments to some extent can tell what is going on inside the minds of the subjects.** The fantastic factory is very much monumental (post)Modern—with Victorian echoes—on the outside and both low-tech and very highly mechanized within, with advanced electronics (teleportation) and transportation (sic: the teleporting won't get people from here to there).
The villain (who rather literally gets off on the pain of others) turns out also to be a cyborg; final confrontation between hero and villain occurs in the hellish cyberspace of the villain's mind, in a scene of interest to historians of the imaging of surreal hells—and which gets into the similarities and differences between heroic and villainous machines: cf.
and contrast confrontation between Luke Skywalker and the evil Emperor in Relevant here for imagery of the devices used to steal the dreams: the heads and, necessarily, the subconscious of both the scientist and his victims are encased in very Po Mo rigs, superimposing the electronic on something quite organic and associated with intelligence: dreaming.** An "android" becomes the perfect male companion: "strong but compassionate; rough but gentle; reliable but unpredictable . .; proud but not arrogant," etc.—and attempting to fulfill all the contradictory demands "mentally short-circuits," becoming overly "protective of his mistress in the fashion of the Jack Williamson classic 'With Folded Hands,'" q.v.Note image of Russian protagonist exiting film and ending movie being drawn up toward, but not into, a second rescuing helicopter: he is exposed but escaping, with as much transcendence as this film will allow.Martin's life includes a dual quest and a love story between Andrew and Little Miss and Little Miss's granddaughter Portia, leading to the legal recognition of Andrew's humanity, and his marriage to Portia.See for mise en scne of the post-holocaust, mechanized-underworld future (called in prod."Eternal Night"), and for imagery of superimposition of the mechanical and electronic upon the human (including an MRI machine in the world of 1990 and television in worlds of 1990, 1996, and early 21st century)., diving bells, proto SCUBA outfits—see for "the hand of Rotwang" twice over: Capt.This is essentially the lesson which the machines had learned the hard way, when they initially rebelled against the humans, no matter how hard they tried they were never accepted. This 'runner' learned the human capacity for sheer manipulation " Humans intentionally cause "the destruction of the sky," to deny the machines a primary source of power; with machine victory, the machines find an "endlessly multiplying, infinitely renewable energey source" that is the "very essence of the Second Renaissance": humans as power sources (the "coppertops" of Michael J.