Cronenberg’s Address of Virtual Reality in eXistenZ

Virtual reality film, eXistenZ delivered self-referential twists that seemed to mess with the minds of the viewers. In the film, there were games that were within games, which were also within games. The filmmaker informs his viewers that technology can engross their viewers in illusions that are very compelling. Andrei Tarkovsky Solaris (1972) noticeably investigates the boundlessness of a scientific probability that may exist in the outer world, and this is in stark contrast to Cronenberg gaming movie, eXistenZ (1992). Morphologically, the two films are different resonating with different audiences.
Cronenberg film suggests the notion that on the one hand, technologies were developed with a given intent of the application, and he intent is eventually distorted by the receptivity of different users. For instance, Allegra’s virtual reality game is created by a drive of the games users. Even though the game has its restrictions and rules, players are instead programmed to speak and act against their will in ways that enhance the main plot of the film, and its main story of the fatwa that was preferred against Geller. This would have been translated into an apparent manifestation from the real emotions and intentions of the games players. With the scenario at play, and then the filmmaker, Cronenberg communicates that people can bring out the intent of certain technologies.
This is the reason eXistenZ lacks a clear goal in the beginning, and then gradually being developed as the actual goals of the game’s players percolate into the virtual reality.

When the eXistenZ game finally concluded, Allegra and Ted are out of their depth, and the designer of their real game, Nourish then experiences a feeling of fear as the game commences with the killing of the designer of the game, in which he also declares an entire anti-game theme. The theme, which he firmly espouses, has its roots from the ideas of another player. With such a sequence, Cronenberg recaps the notion that the relationship between reality and technology cannot imply a simple disparate link as one may be made to believe, the virtual reality is indistinguishable from reality in their entire film. The filmmaker applies a very bold statement to investigate the level to which technology influences reality.
It is such a specific notion that informs the violence, which is a constant part of films and video games (Baudry and Alan 41). Hence, the world has reached a stage when the relationship between technology and reality, is as a matter of fact, been symbiotic, with either influencing another and which blurs the thin line that exists between the two. In essential sequences of the movie, Geller and Pikul discuss marketability of the game, with Pikul stating a dislike for the game, and describing their relationship with virtual reality as stumbling, in an unformed world, and whose regulations and goals remain unknown, or nonexistent, and always on the verge of death by unknown forces.
On the other hand, the description provided by Pikul impresses Geller and she declares that such a game suits her. In her concluding remarks in the movie Geller maybe actually, there is no real distinction that exists between tranCendeZ and existenZ, and for the same specifically, she meant reality. This means that technology has intensely endeared itself on the functionality of human being’s daily life, and that if human beings fail in engaging it, then human beings are influenced by it so that human being’s reality is lived on the logic of technology. The notion is clear an extrapolation in human beings thoughts and functionality, and can be seen to change from the influences of small pertinent gadgets. Critical life living activities such as sending messages affect every life in the current period.

These forms of long distance communication are gradually reducing communal relationships, a less physical form of communication leads to the other development of traits when relaying information. Cronenberg reflects these in the film, by implying that videogames and the technologies are making people live their lives in their contexts.

Allegra Geller, the star cast is a mega game designer, appreciated by her overbearing audience as the authentic acclaimed by her group of onlookers as a credible whiz, later on, spoke to in eXistenZ in its first appearance on screen. From this insistence, can impeccably transferable from the universe of amusements and virtual reality to the present condition of electronic writing.
One might want to work through a correlation between the inquiries and difficulties displayed in this work by Cronenberg and electronic writing and the difficulties we confront in attempting to set up whether, as was guaranteed years back, another time for another writing has at long last arrived. The voices of the prophets and cries reporting the last end of the world have been ringing in our ears for quite a while, yet we ought to be aware of the degree to which the social works on accommodating our reality can be changed. The ideas uncovered as hazardous in the film situation brought about by Cronenberg are those of “nature” and “reality” and, as it were, new artistic structures likewise accelerate us into a qualification between “characteristic” perusing practices and new perusing practices.
In the structure the author and executive presents them to us, they are simply illusions yet it is expected that inside of the artistic environment, people can imagine they are illusions; in any case, progressively. A hyper-literary and digitally printed practices turn out to be less of an ingenuity and structure a firmer piece of human beings’ existence.
David Cronenberg oversees, inside eXistenZ, to tempt, that is, to torment yet again to the point of desolation, the unpredictable, polemical connections in the middle of humankind and machines. The thirteenth film by the Canadian chief, in the perspective of this, sets another benchmark in his profession now very generous by authoritatively attempting to cloud, subvert and even destroy the boundaries between natural and inorganic matter, a dream future and quick reality. This fugacity and power of time utilized in the diversion and the experience this gives can be found in the light of a late article by Umberto Eco in which he talks about books as encounters, of portrayals as encounters and information.

In “Algunas razones para sneer” incorporated into the most recent report on perusing Eco suggests the relationship in the middle of time and activity and, in the last occurrence, to the relationship in the middle of activity and life. In this manner, when nothing happens we say time is passing gradually and when we survive energizing minutes and days, we say time flies. In like manner, Eco partners perusing to activity in light of the fact that when we read, we live, regardless of the fact that it is experiencing the lives of others. Conclusively: it can be collected for experience and intelligence.
For Eco, perusing gives us the crude material for review and the Italian semeiologist tries to a long life in which to recollect “in portions” everything, which journalists have had the effortlessness to disclose to him (Eisenstein and Daniel 233). In this way, as indicated by him, when we read, we are living all the more completely in light of the fact that a considerable measure of things are going on. Therefore, it can be envisioned within the inside of these virtual reality diversions where activity is striking, encounters are different and, what is better or genuine.
The opinion of Kracauer (219) resonates with the idea that Cronenberg is captivated by post-mankind; that is, by the effect of innovation on the human body. In this sense, his movies frame a portion of the gathering of scholarly and imaginative practices that reconsider the human body in the meantime as the recent is being remade by the advances in hereditary designing and mechanical autonomy. Coming back to one of his lasting fixations: investigation of the response of the living being to impedance by outside bodies, once in a while uncovered as the colonizer of the host body; the inventor of eXistenZ envisions the world where amusements frameworks are specifically connected to the body through a “bio-port. A sort of hole arranged at the base of the spinal section, of an enigmatically butt-centric appearance and waiting be greased up before embeddings.
The concepts are the apparent reasons why Cronenberg opts to personify the game pods in the film. The game pods have a life in the dame way haggis-like bags are built from the volts of celestial tech-colored frogs. Through a cord that resembles the image of a human being’s umbilical cord, the body is linked to the transgenic pod. The filmmaker means that the connection of players in the film has with their game technology can be compared to the relationship that exists between the two just like the biological one. The game pods can be seen to feed off the lives of the human beings they are linked into and the converse is true. People have absorbed y technology to a level where the biochemistry in people technology has fundamentally transformed.

The point is one in which the technology is virtually ingested into own technologies, and that in the real life, people cannot consume technology, this is just a figurative inference. Such an overconsumption has virtually changed the physical as well as mental state of the human functionality to accommodate technology. It is the bond, as illustrated by the filmmaker on his star character, Geller, she becomes addicted, a harmful passion for the game. Importantly, the film is all about the relationship of human beings with technology, and that while the reality is shown upon the end of tranCendeZ, there is a vivid distinction tat is made between technologies and organic. The other world of existenZ portrays a probable future of naked screes, clocks, telephones and watches, yet the prevalence with organic counterparts. Hence, the filmmaker seeks asks whether human beings are using technology, or is that the technology is crippling under the cover to use human beings.
Works Cited
Baudry, Jean-Louis, and Alan Williams. “Ideological effects of the basic cinematographic apparatus.” Film Quarterly (1974): 39-47.
Eisenstein, Sergei, and Daniel Gerould. “Montage of Attractions: For” Enough Stupidity in Every Wiseman”.” The Drama Review: TDR (1974): 77-85.
Kracauer, Siegfried. Theory of film: The redemption of physical reality. Princeton University Press, 1960.