英国论文代写：讽刺电影
英国论文代写：讽刺电影
克里斯蒂安·拉恩哲臣的“上线”，谈一谈在美国导演协会的数码节于2003年5月17日在洛杉矶出现了一些不可避免的严厉的面纱背后cyberpun方法。依赖的后果，无论是直接或间接地在吉普森的讽刺手法对技术的主要因素之一。
吉普森的原讽刺对媒体企业的攻击性可以视为散文小说，但它确实是一个虚构的总结非虚构的现实。但作家的感知这个现实不关注眼前，但不久的将来可能因为现在。”在乔尼娱乐系统的不确定选择中，有一个将高表现力和高分辨率的狗头插入所有人物的头部。然而，它不知道约翰尼这样的情况是基于一次公认的爱德华民俗象征的扑克的狗，但是它是好的因为乔尼没有历史教授，如果他需要知道的话，他会通知系统，包括吉普森在讲话近10年。
吉普森的话是对美国现代代相当适用，其中学生知道加、减、乘、除只使用一个字符但是真正的方法是他们不知道如果他们不去了解它，因为根据他们的计算器更准确和更快的比人类的大脑，如果他们需要要知道数学计算的真正方法，计算机会做必要的对他们来说。
彼得·威尔的1998部电影杜鲁门的表演是幼稚或按时间顺序显示，可以称之为不敏感比天真的人按照他们的成瘾性和依赖性，对媒体在何种程度上人们可以放纵为溶于娱乐。
“这是一个事实，电视的发展在现实主义到与整个故事的风险，即风险，其不同于普通的伦理、道德和法律风险”（杰克逊148）。
英国论文代写：讽刺电影
William Gibson’s ‘Up the Line’, a talk delivered at the Directors Guild of America’s Digital Day on 17th May, 2003 at Los Angeles appeared to veil some inevitable harshness behind his cyberpun approach. Consequences of dependency, either directly or indirectly has been one of the primary elements in Gibson’s satirical approach towards technology.
Gibson’s raw satire on the aggressiveness of media ventures may be deemed as prose fiction, but it is indeed a fiction summed up of non-fictionalized reality. But the writer’s percept of this reality does not concern the immediate present but the near future probable because of the present. “Amidst the indefinite choices of Johnny’s entertainment system, there is one which inserts highly expressive and high resolution dog heads in place of all the characters’ head. However, it is not known to Johnny that such a scenario is based on the once well-recognized Edwardian folk symbol of poker playing dogs, but then it is alright as Johnny is no professor of history and in case if he needed to know it, he would have been informed by the system”, included Gibson in his speech almost a decade back.
Gibson’s quote is quite applicable on the modern American generation, wherein students know to add, subtract, multiply and divide only using a character but the real method of is unknown to them as if they do not bother to know it, because according to them a calculator is more accurate and faster than human brain and if they needed to know the real method of mathematical calculations, the calculator would have done the needful for them too.
Peter Weir’s 1998 film The Truman Show ironically displayed the naivety or, chronologically that which may be termed as insensitivity more than naivety of humans in accordance with their addiction and dependence on media and the extent to which people may indulge in order to dissolve in entertainment.
“It is a fact that televisual advancement over realism arrives with an entire storytelling risk, i.e. a risk, which is different from the common ethical, moral and legalistic risk” (Jackson 148).
