This essay aims to study if, and how, The Matrix (1999) can be read with a queer perspective and how to use it in a classroom setting to further upper secondary school students to discuss transgender issues and develop their own identity. By analysing the film using a hermeneutic method and a queer perspective the results show that much of the lines, cinematography and costume can be viewed as an expression for transgender and queer. The theoretical framework is mainly related to Judith Butler’s research on doing gender and Malin Alkestrand’s concept of didactic potential. The essay shows the didactic potential of the Matrix (1999) and gives concrete examples of lines, cinematography and costume that can be used to begin conversations in the classroom related to gender, sexuality, norms, and performative gender.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references. Also available in print.

En adaptionsanalys som utforskar relationen mellan romanen Cloud Atlas av David Mitchell och dess filmatisering (2012) av Tom Tykwer och syskonen Wachowski. Fokuset ligger på skillnader och likheter i narrativ och vilka visuella möjligheter som kunnat tillföras när romanens handlingen gjordes om till filmformat.

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This study explores the representation of the hero in Lawrence and Andrew Wachowski’s Matrix film trilogy, which comprises The Matrix (Wachowski, Wachowski&Silver 1999), Matrix Reloaded (Wachowski, Wachowski&Silver 2003a) and The Matrix Revolutions (Wachowski, Wachowski&Silver 2003b). Special reference is made to how Neo embodies a postmodern view of heroism. This implies an exploration into the relationship between Neo, the protagonist and hero in the Matrix trilogy, and his mythological predecessors, as well as the relationship between the representation of Neo and ideas concerning heroism. In order to further understand the nature of heroism in the Matrix trilogy, the ideas of two philosophers, namely Friedrich Nietzsche (1844-1900) and Gilbert Keith Chesterton (1874-1936), are explored and compared. It is argued in this study that the heroism presented to the viewer by the Matrix trilogy can be interpreted as being representative of the meeting of the apparently contradictory ideas of these two philosophers. Both of these philosophers, though striving for a heroic ideal, arrived at vastly different conclusions. This study, whilst considering the nature of heroism in these two views, also seeks offer an examination of the relationship that Nietzsche’s and Chesterton’s writings have to one another. This examination is not an attempt to take sides with either of these philosophers, but merely to point out certain aspects of their two distinctive viewpoints as they relate to the films in question. This study especially seeks to investigate the claim that Neo is the embodiment of the Übermensch, the figure that most clearly resembles Nietzsche’s heroic ideal. Chesterton’s views of heroism are referred to in order to counter-balance and contextualise Nietzsche’s views on this. Mainly ethical aspects of the character and narrative of the hero are focused on in this study in order to show, firstly, that these more abstract aspects are implicit in the representation of the hero in the Matrix trilogy, and secondly, that the hero belongs to a moral taxonomy. The final aim of this study is to present a coherent view of the many facets of heroism that incorporates an assessment of how philosophy, ideology and semiology underpin the visual. / Dissertation (MA (Visual Studies))--University of Pretoria, 2007. / Visual Arts / unrestricted