The document discusses how the cities in the films Equilibrium and The Giver have the potential to become normal, happy places if the oppressive regimes are changed and the inhabitants embrace new social and political orders. It notes how the main character in Equilibrium sees the bleak city in a new light once regaining his humanity. Both films also depict alternative spaces like homes that represent normalcy from times when feeling emotion was allowed and contained promises of hope.
The document discusses how the cities in the films Equilibrium and The Giver have the potential to become normal, happy places if the oppressive regimes are changed and the inhabitants embrace new social and political orders. It notes how the main character in Equilibrium sees the bleak city in a new light once regaining his humanity. Both films also depict alternative spaces like homes that represent normalcy from times when feeling emotion was allowed and contained promises of hope.
The document discusses how the cities in the films Equilibrium and The Giver have the potential to become normal, happy places if the oppressive regimes are changed and the inhabitants embrace new social and political orders. It notes how the main character in Equilibrium sees the bleak city in a new light once regaining his humanity. Both films also depict alternative spaces like homes that represent normalcy from times when feeling emotion was allowed and contained promises of hope.
THE NIGHTMARISH DYSTOPIAN CITES OF KURT WIMMER AND
PHILIP NOYCE 6
4.2.3. Spaces of normality
In the two movies, both cities have the potential to become spaces of normality and happiness if the regime is changed, if the inhabitants embrace a new socio-political order. In Equilibrium, the urban environment is depicted as bleak and dark. However, when John regains his humanity, he sees the metropolis with different eyes and the city seems to acquire a breathtaking beauty. The film also depicts delightful rooms full of trinkets and memorabilia such as paintings, books and gramophones that belong to a time when society was allowed to feel emotion. Phillip Noyce’s film also presents alternative spaces of normality, such as the Giver’s house, with its classical piano, with its lamps and shelves full of books. The “Elsewhere”, the place beyond the border of the community where Jonas and Gabriel escape, is also a site that contains a promise of hope, joy, happiness.