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My tribute to a very specific subgenre of science fiction: not futuristic (some of these films take place in the present or even in the past) nor post-apocalyptic, but films presenting societies that have both utopian and dystopian qualities, with high technology, severe social restrictions and class differences, based on inequality and lies.
I established a few rules while editing this, for the sake of consistency:
1.-Society must be organised, not just pure post-apocalyptic chaos (Mad Max saga, The Omega Man, The Road, The Book of Eli)
2.-The oppressed must be humans, not aliens (District 9) or androids (A.I., Blade Runner, I robot)
3.-Society must be controled by humans, not by aliens (Dark City, La Planete Sauvage), machines (The Matrix, Terminator Salvation) or vampires (Daybreakers)
4.-Events must take place in reality, not in virtual worlds (Tron, The Matrix, The Thirteenth Floor, eXistenZ, Tron: Legacy)
5.-Society must have evolved only through human ways (science or politics), not through biological changes (Planet of the Apes, Time Machine, Children of men)
However, I have used some of those films (A.I., Blade Runner, I robot) very briefly to help with the visuals but not as part of the narrative.
- "72 degrees and sunny" by Thomas Newman, extracted from the score of "Wall·E"
- "End of Line" by Daft Punk, extracted from the score of "Tron: Legacy"
- "Anthem for the Year 2000" by Silverchair
- "If you tolerate this, your children will be next" by Manic Street Preachers
FILMS (51, listed in order of first appearance):
Death Race 2000
The Hunger Games: Catching Fire
Escape from L.A.
Total Recall (2012)
The Hunger Games
Never let me go
V for Vendetta
A clockwork orange
SOME FILMS I WAS CLOSE TO USING BUT FINALLY DISCARDED FOR EDITING REASONS: Akira, Battle Royale, Escape from NY, The Fifth Element, Land of the Dead, Rollerball, The Truman Show.
One of the reasons George Miller's action scenes work so well and make so much sense is because they are grounded in the character’s point of view. By doing this he literally puts you into the action using nonverbal visual, almost operatic, storytelling—something Hitchcock would call “pure cinema."
Edited by Rishi Kaneria (@rishikaneria)
Music by Girl Talk
Footage taken from:
Mad Max 2: The Road Warrior
Mad Max Beyond Thunderdome
WARNING: Music contains explicit lyrics.
SPECIAL THANKS TO THE FOLLOWING FINE BLOGS FOR FEATURING THIS VIDEO:
A look at the hidden power of film props.
And how filmmakers use the everyday (and not so everyday) objects in their scenes to enhance cinematic storytelling.
Written, edited, & narrated by Rishi Kaneria (@rishikaneria).
“Baba O Riley” by the Who
“Kid-A” by Punch Brothers
“Rabbit In Your Headlights” by Unkle
“Where is my mind” by Vitamin String Orchestra
“Magic” by Mick Smiley
“Sinnerman” by Nina Simone
“Intermezzo” by Pietro Mascagni
“Monkey Fight Snake” by the Bombay Royale
“I Hung My Head” by Johnny Cash
“The Thing That Made You” by Dan Romer
"Once There Was a Hushpuppy" by Dan Romer
“If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”