New Communication Technology: September 2013

Le Cinquieme Element
Choose a cyberpunk story or movie. Compare the economic and social world it conjures with the real world today. How close is this imagined world to our world and are we moving towards the imagined world or away from it?

Cyberpunk is the term derived from the combination of words; cybernetics and punk. This “subgenre of science fiction focuses on the effects on society and individuals of advanced computer technology, artificial intelligence, and bionic implants in an increasingly global culture” (Oxford, 2012). Cyberpunk depicts the “blurring distinctions between humans and machines in bleak dystopias with lawless subcultures.” (Chandler, D & Munday, R 2012). This distinction is conveyed in Luc Besson’s, The Fifth Element (1997), with his vision of the world in year 2214. This film explores the notion of cyberpunk, whilst simultaneously portraying themes; Good vs. Evil in the depiction of the economic world, and the notion that communication technology has surpassed physical interactions within the social world.

The portrayal of the economic world in the 23rd century appears to be over-populated and somewhat in a state of anarchy. New York City has been built upwards high enough for the ground not to be visible, leaving the old New York City of today under a layer of dense smog. This could be due to the increased population and fewer amount of deaths, technological advances have allowed scientists to re-generate body parts and sometimes entire bodies from a limb as small as the hand, as long as there are live cells still remaining. Whilst preserving life is a positive outcome achieved in the future world, it is suggested that an imbalance of technological resources and research can result in poverty and loss of other life; the life of the earth and nature. Besson not only explores the notion of the regeneration of life, but also the idea of engineering life, and the consequences it may cause. This is demonstrated through the dialogue employed by scientist Macilburgh in the film, “This cell is like a huge library. It has infinite genetic knowledge stored inside. Almost like it was...engineered… His knowledge is probably limitless.. The idea that an engineered being has limitless knowledge. What does this mean for the future?” (Besson, L & Kamen, R 1995). In the initial scene of meeting Korben Dallas, we are presented with an automatic heroin. As Dallas attempts to leave his cubicle sized apartment he is confronted by street mugger with a “Z140 Alleviated Titanium Neuro charged assault model” weapon. (Besson, L & Kamen, R 1995). An unperturbed Dallas humorously tells the mugger how to correctly load the weapon, and swift-fully seizes the weapon from the mugger. On cue, a storage compartment comes to Dallas’s side where there are more than 20 weapons stored. This comically suggests mugging is a common part of the future, too common that when faced with a gun it is no longer frightening. The indifference Besson conveys through Dallas’s response suggests it is no more uncommon than a hover craft car chase, or for today’s world, a pet owner walking their dog. The economic world conveyed reveals the high-speed lives that people most function at in order to keep up with the technological world surrounding them. This is supported through the constant noises used in the background sound of the music. It is highlighted when Dallas is abruptly awoken by several noises his apartment was making, including a cigarette dispensing machine that offers automated encouragement to quit smoking “to quit is our goal” (Besson, L & Kamen, R 1995), when ironically, the cigarettes of the future have an inverted tobacco to filter ratio. (Hobberman, J. 1997). The economy depicts a sense of ‘not enough time’, the world is operating at full-speed and shows no likeliness of slowing down.

Besson’s portrayal of the social world includes heavily advanced technologies, so advanced that human interactions have gone beyond physical contact and has been replaced with technological mediums of communications. The world conjured demonstrates a substantial reliance on technological devices, which has further isolated humans. Protagonist Korben Dallas, faces a continuous struggle with intimacy issues throughout the duration of the film. It is shown that Dallas has only one or two people with whom he holds a relationship with, and is depicted as a telephone relationship. Having very few relationships one would make the assumption they would be resilient, however, it is discovered that this is not the case, Dallas speaks with his mother on the phone who appears to be angry at him, “Don’t tell me you machine [answering machine] is broken those things last thousands of years” (Besson, L & Kamen, R 1995), this dialogue is employed in the text almost as if to explain the severity of the issue that disconnectedness poses on society. Aside from his telephone communications, he has a short number of superficial relationships where he demonstrates better communication and openness with, the scene where the floating Thai restaurant is anchored to Dallas’s apartment window validates the intimacy and connection Dallas desires, that he will willingly confess his personal problems to a random chef, “The last two messages I got? The first one was from my wife telling me she was leaving! And the second was from my lawyer telling me he was leaving too... with my wife”. Accompanying this notion is the ironic portrayal of priest, Father Cornelius, sitting at a bar confessing his issues to a robotic bartender, this juxtaposition depicts the disconnected relationship among human beings, as it would be assumed a priest would confess his problems unto his God, not an impassive robot. “I feel so guilty… I know she was made to be strong but she’s also so fragile… So human. You know what I mean?” The robot bartender responds shaking his head and offering the priest another drink.
The relationship demonstrated between Dallas and his cat places emphasis on the idea that intimacy is an integral part of human life and with the excessive overuse of electronic gadgets it has gradually diminished over time; resulting in a human/cat relationship to be the most treasured in his life. Besson further demonstrates the notion that communication technologies have exceeded physical interaction into solitary, digital forms through the sequence of dialogue between Dallas and his car; “Welcome on board Mr. Dallas”, “How you doing this morning? Sleep OK? I didn’t.” (Besson, L & Kamen, R 1995). These scenes form the basis which adds gravity to the fascination Dallas experiences with Leeloo, The Fifth Element. The intimacy he craves overlaps with Leeloo’s isolated life. She is depicted as the world’s most perfect, Supreme Being, her knowledge is limitless yet it is only knowledge, she has been unable to experience anything for herself. This addition to her character reflects humanity in the 23rd century. It suggests that the immeasurable knowledge and technology the world now holds has prevented individual growth and the development of social communication skills. The juxtaposition of Diva Plavalaguna singing opera and Leeloo’s first fight scene is a significant turning point in the film. It reveals a scene filled with raw emotion, this is the first time the audience views Dallas in a vulnerable state; his macho, heroin façade disappears and his true despair can be seen beyond his persona. Simultaneously revealed is the vulnerability of Leeloo, it conveys that even the Supreme Being faces struggles as do all humans. The personification of character Ruby Rhods is an original imaginative addition to the film and suggests the re-invention of radio communications. (Jordan Press & publishing Co, 2006) Ruby Rhod’s show popularity denotes the yearning humans feel for basic communication means and the intimate nature of the host’s voice. (Sawchuk, A, 2013). Ruby Rhod symbolizes an escape from everyday life, that there is life beyond the small cubicles of the future that people call home. Cultural communication in the 23rd century can no longer provide people with the physical requirement outlined as ‘Need of Love, Affection and Belongingness’ (Maslow’s Hierarchy of Needs). Besson exaggerates the disconnected relationship among humans in the future with the ironic scene where Priest Cornelius is threatened by Zorg. Zorg starts to choke and begins pressing buttons on his desk making the room come alive with technological gadgets, Priest Cornelius responds “Where’s the robot to pat you on the back?” It is suggested that limitless technology can not save the disconnectedness of humanity, contradicting an important aspect of technology purposes. The economic and social world conjured in Luc Besson’s film displays similar aspects to today’s current time, however the technological advances in terms of science and engineering represented in the film are in the very distant future from our world today. Communication technologies depicted are familiar to the world today, with very few differences, however, it has been exaggerated to have surpassed physical communication interactions and suggests a possible issue with the direction the world is headed in. The Fifth Element suggests that with over use, our world could be leading to a more connected technological environment, however, with contradicting results in the disconnection of social interaction among humans. The economic state appears to be almost equivalent to current times, it is apparent there is disruption and law breakers with authority figures trying to control society. Society is headed in the direction of the imagined world, though it remains to be in the very distant future.

References
Chandler, D., & Munday, R. (2011). A Dictionary of Media and Communication. Oxford University Press. Retrieved from http://www.oxfordreference.com.libraryproxy.griffith.edu.au/view/10.1093/acref/9780199568758.001.0001/acref-9780199568758-e-0619?rskey=Om9Tvs&result=1
Prucher, J. (2006). The Oxford Dictionary of Science Fiction. Oxford University Press, Retrieved from http://www.oxfordreference.com.libraryproxy.griffith.edu.au/view/10.1093/acref/9780195305678.001.0001/acref-9780195305678-e-100?rskey=Om9Tvs&result=2
Besson, L., & Kamen, R. (1995). The Fifth Element, The (1997) movie script. Retrieved from http://sfy.ru/?script=fifth_element
Hoberman, J. (1997). The Fifth Element. The Village Voice. Vol. 42, Issue. 20 Retrieved from http://search.proquest.com.libraryproxy.griffith.edu.au/docview/232196007
Sawchuk, A., (2013). The Fifth Element. Where’s the robot to pat you on the back? Bright Wall / Dark Room Magazine. Retrieved From http://brightwalldarkroom.com/post/41447174640/the-fifth-element-1997
Carder, T., (1997). The Fifth Element. Entertainment Media Analysis Report. Retrieved from http://www.capalert.com/capreports/fifthelem.htm

New Communication Technology

Friday 20 September 2013

Le Cinquieme Element

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Essay Development

Sunday 8 September 2013

Assessment 2: Essay Topic