Waste Allocation Load Lifter Earth (WALL-E) Research (Essay Sample)

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Waste Allocation Load Lifter Earth (WALL-E)
Introduction
The setting of the film is 700 years into the future when the earth cannot be inhabited because of neglect and consumerism. Seemingly, humanity has evacuated a harmful, litter ridden, and barren earth, abandoning rubbish compactor robots to perform the cleaning up. For numerous years of loneliness, WALL-E (Waste Allocation Load Lifter Earth-class) has been regularly collecting and compacting trash. A spaceship makes a landing and deploys Extraterrestrial Vegetation Evaluator (EVE), a sleek search robot after discovering a plant seedling growing in the garbage. This fertile symbolism of hope for the earth re-colonization takes the two robots on a sojourn that transforms the fate of humanity and their kind. This essay will explore the style and thematic concerns in the movie WALL-E.
Similar to novels in their use of language power, films use a variety of methods to develop ideas and engage the audience. WALL-E is characterized by little dialogue, thus the film depends more on different camera shots, sound, and lighting for creation of meaning.
The size of the shot seen by the audience within the frame is determined by the closeness that exists between the subject and the camera. An extreme long shot constitutes a vista scene or a landscape. It is usually utilized for establishing the narrative world, for clarifying the setting as well as the signal of the atmosphere. A long shot features a fully-stretched figure and few surrounding. This may create an action or character and illustrate the connection that exists between the settings and characters. A medium shot portrays an individual from the waist upwards. The use of medium shot enables the audience to identify body language and facial expressions. It helps in showing action and developing characters. The focus of a close-up shot is intentionally on the close-range object, character’s feet, hands, and face. This puts emphasis on emotions and escalates tension.
The camera angle adds impetus to the atmosphere of the scene. Additionally, it indicates the power or importance that characters hold. In a high-angle shot, the camera rests above the object or character. This has the impact of portraying the object as being under pressure, inferior, or weak. Seemingly, an eye-level angle indicates a character on the same level as that of the camera. It allows the audiences to not only perceive the character as equal but to perceive the film’s world from their point of view as well. In a low-angle shot, the camera is below the object or character. This has the impact of making a character appear important and powerful. Shifting the camera in specific ways puts emphasis on specific actions, objects, and characters. Moreover, it can lead to tension by gradually showing parts of a scene and making the audience feel involved in the action.
WALL-E is extensively considered a society critique. It unravels real problems, which the world and particularly areas that are densely populated are grappling with currently and in the future. According to Ellison (2008) in a study undertaken by the University of Columbia, Americans generate almost 400 million tons of waste annually; however, less than a third of the solid waste is recycled. Landfills are quickly filling up that the UK might experience a depletion of landfill space by 2017.
Since WALL-E is an overt critique of consumerism, it critiques Disney's aesthetic and production values as well, without being obvious (Murray & Heumann, 2009). Within the DVD commentary, Stanton confessed to being asked whether he intended to create a film about consumerism. His response was negative; it was a means of responding to the question of the earth would reach the state whereby a single robot will remain to proceed with cleanup on its own.
In WALL-E from environmental adoptions toward sentimental nostalgia, Murray and Heuman (2009) highlight the key thematic concern of nostalgia within the film. Nostalgia is denoted clearly by human artifacts, abandoned, that WALL-E gathers and cherishes, that is, plastic sporks, hubcaps, and zippo lighters. These contemporary items that people utilize out of necessity are sentimentalized using the lens of gloom in the earth’s future. Furthermore, nostalgia is expressed via the musical score, as the movie opens with an outer space camera shot, which gradually zooms into an earth filled with waste while playing "Put on Your Sunday Attires", reflecting on happier and simpler eras within human history. Moreover, the movie expresses nostalgia via the natural world and the yearning of nature, because it is the texture and sight of soil, coupled with the plant that EVE returned to the spaceship that compelled the captain to decide the time was ripe for humans to return to earth. Additionally, WALL-E denotes nostalgia, by deliberating on the romantic thematic concerns of silent films and older Disney (Murray & Heumann, 2009). Stanton considers the thematic concern of the movie "irrational love defeats life's programming" (DVD. Scene 16).
Stanton observed that several commentators focused upon the environmental element that characterize the complacency of humanity within the movie, since such disconnect was going to serve as the indirect cause of anything, which occurs in life that is toxic for the planet and humanity (L'Ecuyer, 2009).Stanton posited that by removing the effort of working, the robots take away the need of humanity to put effort in relationships (Strike, 2008). Dreher (2008) perceived technology as a complex villain of the movie. The artificial lifestyle of humans on the Axiom has delineated them from nature, enslaving them in terms of technology and their appetites, and they have foregone their human attributes. Dreher (2008) likened the dirt covered, hardworking WALL-E to the sleek robots on the ship. However, it is humanity and not robots that render themselves redundant. Humans on the ship and on Earth have overused robots and the ultra-modern technology. In the final credits, robots and humans are shown working side by side to redeem the earth. According to Dreher (2008), WALL-E cannot be considered a Luddite movie because does not demonize technology. It solely argues that technology should be utilized for helping humans to nurture their real nature-which it should act as a subordinate towards human prosperity and assist push that along (Dreher, 2008).
Religion
Stanton, a staunch Christian (Basham, 2008) named EVE after the one in the Bible because the loneliness that characterizes WALL-E was a reminder of Adam before his wife was created by God (Moring, 2008). Dreher (2008) noted the biblical namesake of EVE and considered her directive an...