The Matrix Themes: an Analysis of the Film
Since its inception, film has been one of the most influential storytelling methods in society. While movies originally followed a set utopian formula, advancements in the industry brought forth a new crop of narratives through the development of more sophisticated equipment (e.g. celluloid film, digital cameras) and filming techniques. As movies grew in complexity, so did the methods used to analyze them. In this paper we will analyse The Matrix themes and what impact (if there is any) this film has.
The in-depth application of a theoretical framework can be seen in the analysis of the popular sci-fi action film, The Matrix (1999). Culture theory, semiotics, and feminist film theory are all relevant approaches to use in studying this film, as they analyze some of the film’s key elements, codes, and conventions. In the film, Thomas Anderson (aka Neo) fights against a computer hivemind that has constructed his entire reality through a titular system--the Matrix. This directly correlates with culture theory, in that Thomas’ fight against the Matrix reflects our own fight within modern society. As a concept, the computer hivemind and the Matrix are very much like our current society; we are largely technologically-driven, to the point where the technology we use shapes the choices we make, the things we see, and the experiences we have. This is the main point of the film: that we have been brainwashed into believing that “reality” as we know it is real and truly our own to shape, when, in fact, it has been carefully crafted by outside factors that continue to have direct control over our opinions, perceptions, and the paths we take in life. As Brian Eggert puts it, “by forcing us to consider the horrors of an imaginary world, it...allows us to realise the horrors of our own”. While many consider this aspect of The Matrix to be akin to a conspiracy theory, it is far from it; in the film, the Matrix keeps humanity distracted from the true horrors of its reality--that humans are being harvested as an energy source for the computer hivemind that has overrun the planet. This brings about the theme of exploitation within our own society, in that, similar to the hivemind’s exploitation of humans to fuel their existence, the media and governing bodies of the world exploit our inner desires and distract us by promoting a false sense of fulfilment through mass consumerism in order to commodify our existence and ultimately get us to fuel the progression of capitalism.
This notion is supported in the realm of sociology as well; social critic and philosopher, Theodore Adorno, muses that “men are still dominated by the means of the economic process”. Even in the film itself, Morpheus, Neo’s mentor, reveals the “truth” of life: that we are all slaves, imprisoned within our own minds by the world around us. This further raises the theme of ideology, which Adorno posits is a means of preserving oppression through a form of false consciousness. Conversely, Neo’s existence within the Matrix represents and reflects the ultimate choice to take control over our lives. His journey to dismantle the hivemind and free humanity from the Matrix conveys the theme of free will, a theme which is blatantly displayed to the audience throughout the movie. The most notable scene involving this is where Neo is presented with a red pill--symbolizing the realization of the truth--and a blue pill--symbolizing the acceptance of oblivion. Neo’s decision to take the red pill directly relates to our ability to open our minds and question the way we see the world around us, which will ultimately free us from the shackles of our own self-created “matrix”.
Similar to the ideological aspect brought forth in culture theory, semiotics makes the intricacies of The Matrix significantly more impactful. This theory functions on the basis of how signs and symbols convey meaning. Semiotics also functions closely with culture theory, in that the symbolism an audience interprets within a film correlates directly with pre-established meanings placed upon certain symbols and signs within their own culture--this is why symbolism in Western culture may differ to that of Eastern culture. In any case, symbolism is rampant in The Matrix. One of the major symbols early on in the film comes in the form of a white rabbit, which is first mentioned by Trinity when she approaches Thomas and tells him to “follow the white rabbit”. The rabbit in question appears in the form of a tattoo on a partygoer’s shoulder, and when Thomas follows them, his journey within the Matrix begins. This is a reference to Lewis Carroll’s novel, “Alice in Wonderland”, in which the titular protagonist finds herself transported to Wonderland after following a strange white rabbit. This allusion is mentioned again later in the film, in the aforementioned red pill/blue pill scene, where Morpheus says: “...take the red pill, you stay in Wonderland. And I show you how deep the rabbit hole goes.” Morpheus also likens Thomas--now called Neo--to Alice, stating that “[he is] feeling a bit like Alice, tumbling down the rabbit hole.” The symbolism of the white rabbit and Alice in Wonderland is obvious--the rabbit is more than a tattoo; it represents following one’s curiosity to an impossible land, just like Alice. However, what makes this metaphor truly interesting is that, unlike Alice who finds herself going from reality to a world of whimsy, Neo is already in Wonderland. The world that he knows is made up, and he is about to emerge from the “rabbit hole” to face his true reality.
Another striking instance of symbolism occurs in the film’s use of zoom-in transitions. In the opening sequence, we zoom in through the Matrix code, then through a series of phone numbers being traced on a monochrome monitor, finally to a ball of light which reveals itself as the flashlight of a policeman. Although we may not know it yet, this is our introduction to the actual Matrix; we have stepped out of reality by zooming through a computer containing the code, all the way to the computer-simulated world. This transition occurs again during Neo’s interrogation scene, where we see him from a security camera angle behind a wall of screens. The screens disappear when we zoom in to the actual scene containing Neo, however it is done in such a way that the image of Neo never changes. The fact that there is no difference between the digital image and the “real” image of Neo is symbolic, in that it hints at the fact that the Neo we see is still virtual, and isn’t actually genuine.
Furthermore, elements within the film’s mise-en-scène tie together the overall symbolism of the narrative. The characters’ costuming is one significant and noticeable element; before Neo became aware of the Matrix’s existence, he dressed in a way that would be considered “normal”. Once he learned the truth and joined forces with Trinity and Morpheus though, his clothing changed to an all-black suit with an iconic leather trench coat and sunglasses. This change is symbolic as it not only sets Neo and his group apart from the placated population of the Matrix, but it also represents a sense of non-conformity, which is key to the characters’ survival in the film. Costuming is also symbolic where the Agents are concerned; as the film’s main villains, they embody authority and power through the sharp business suits they wear. Their well-presented aesthetic connotes them to fit the stereotype of the 'ruling class’ in our own society--the mega-corporations and the “one-percenters” who lord over us and get us to feed into their capitalistic desires. Even moreso, the fact that he seemingly blends in with the rest of the Matrix’s oblivious population adds even more meaning; he is able to conceal himself in plain sight so we don’t recognize him as the villain at first, similar to the way in which capitalism operates in our reality.
Costuming also comes into play where feminist film theory is concerned. As Kristin Hole points out, while “[this theory] has been foundational to the development and establishment of film as a discipline”, it often gets reduced to a psychoanalytic, outdated analysis from the 1970s and 1980s. But to say that feminist film theory is outdated in today’s social climate would be a lie, and the use of costuming in The Matrix is a glaring exhibition of this argument.
Trinity, the female lead, is primarily seen sporting a skin-tight PVC catsuit throughout the film, which could be called sexist when compared to her partners’ more practical outfits. While she is a well-written female lead in terms of her mental and physical capabilities, her costume causes the viewer to focus on her aesthetic as opposed to her abilities. When paired with the types of shots that are used when she is on-screen--close ups of her curves--the objectification of her physical femininity becomes apparent. This directly appeals to and raises the point of the “male gaze”, a term coined by feminist film theorist Laura Mulvey. She posits that “mainstream film coded the erotic into the language of the dominant patriarchal order”, meaning that eroticism in media is linked and largely due to the fulfilment and enjoyment of the patriarchy--i.e. men. On a psychological level, reasoning for this exists. Freud brings up scopophilia, which he explains is a pleasure with taking other people as objects and subjecting them to a controlled and curious gaze, similar to what is done to Trinity in The Matrix. Her choice of costume surrenders her to the controlling gaze of the audience--mainly the male audience--whereby she is stripped of her humanity and becomes nothing more than a sex symbol for the duration of the film.
While one could argue that, similar to the Agents, Trinity’s costume implies power as well, the main difference would be that her “power” comes from her sexuality. Despite the fact that she is a skilled fighter, her physical appearance belies this truth, leading many of the Agents to underestimate her in battle. In this sense, her provocative image works in her favour, however the trope of female leads being primarily sexually appealing is one that still feeds into the male gaze, regardless of the character’s actual capabilities in the film. Still, this does not detract from the fact that her role is integral to the progression of the plot, meaning that The Matrix passes what is known as the “Sexy Lamp Test”. While it isn’t an official gauge for the relevancy of a female character in a piece of media, it has become popular among many feminist film theorists. First coined by Kelly Sue DeConnick in 2013, it argues that a film isn’t a good representation of women if a viewer can replace a female character with a sexy lamp and have the plot remain the same. The Matrix passes this test within the first 10 minutes; without Trinity to incite Neo’s curiosity at the start of the film, his journey would have never begun, and he would have remained another cog in the machine of the Matrix.
To conclude, “The Matrix” film is a highly impactful artform that shapes and is shaped by the society we live in. What started as a series of experiments in the 1800s has grown into a multi billion-dollar industry that influences how we see the world around us, all while providing a source of entertainment. Through the introduction and implementation of various analytical theories, however, we can now delve into the deeper meanings behind the films that we enjoy, in order to get a better understanding of why we enjoy/dislike the things we do, and how these films appeal to them.
