(It. Tron)
color, USA / Taiwan, 1983 , Steven Lisberger
Length: 96 min .
Genre: Science Fiction
Cast: Jeff Bridges (Kevin Flynn / Clu), Bruce Boxleitner (Alan Bradley / Tron) David Warner (Ed Dillinger / Sark / Voice of Master Control Program), Cindy Morgan (Lora / Yori) Barnard Hughes (Dr. Walter Gibss/Dumont), Dan Shor (Ram/Popcorn Co-Worker), Tony Stephano (Peter/Sark's Lieutenant)
Concept Art: Syd Mead
Musiche: Wendy Carlos
Produzione: Donald Kushner
Distribuzione: Walt Disney/Buena Vista
Kevin Flynn (Jeff Bridges) è un talentuoso programmer of the multinational Encom. His is the code of the best games created by the company, potential hits that would make him famous and rich, but Ed Dillinger, corporate climber, steals the source of all his creations, merited. Flynn was sacked for his accusations of plagiarism, while Dillinger was promoted to manager of the company.
Meanwhile, Dillinger has created a very powerful program, called MCP (Master Control Program), which soon spread itself by absorbing other programs and infiltrating computer networks around the world. While the MCP gets to develop a cold, cynical and self-determinism, he became Dillinger the best ally. Between the two of them there is a precarious balancing act, as to who is really in charge, but soon the MCP threat to its creator to publish his misdeeds, if they do not lend faithful service. While the MCP program to take control of the Pentagon and the Kremlin, Alan (Bruce Boxleitner) and Lora (Cindy Warren), two programmers Friends Flynn, they discover that the MCP has excluded from the system. Concerned contacted Flynn, who has never stopped groped for justice for himself. This results in a night attack to Encom, after which Flynn is, by deception, MCP scanned into the system, to eliminate it. Part of the program now, the only hope for Flynn is to find TRON, the monitoring program created by his friend Alan, a brutal dictatorship to destroy the MCP, which has made the world a program of prison regime, dark and violent.
Write a review for Tron is a thankless and difficult, thankless because, with the best will in the world, is really a challenge to bring words to the extreme visions of a brave and daring project, the limits of human imagination; difficult because, always with the best will in the world, this is a film that is based on a conceptual world, such as computer programs, outside of our plane of reality.
Tron is the brainchild of brilliant Liseberger, the director, who, fond of computers and video games, decided to create something completely new, radical film that goes beyond the sense that the public had until the time of the movie. Indeed, it was so revolutionary that the same result can not quite grasp the whole kaleidoscope of surreal and unreal metaphysical reality of Tron.
The story, simple enough, imports from the world of many more words and situations, then it could absorb. It was a time, that beginning of the eighties (or the end of the seventies, if you want), in which computing and graphics capabilities of video games, were in their infancy compared to our current and unexpected standard. The very concept of sending the viewer into the world of computers, made up of specific programs, electronics, energy flows and mechanical alien man, was something extremely revolutionary. It 's a world where everyone has a very specific place, where death occurs for removal from the system, and where the staple food is pure energy (represented poetically as a stream of water). But it is also a world where the strongest can still override the weaker - as happens in the story the MCP, establishing a dictatorial regime on the network that hosts the programs, creating a rigid hierarchy, a system which is impossible to escape from the suffocating. The similarities between our and the world of Tron are more than you can find at a first superficial examination. Find it difficult to identify in a world of vectors and pixels, but if it does not seem so, if through our imaginary magnifying glass cutting our reality, we find that nature has created a world very similar to that of square and angular Tron, made of porous surfaces, polygonal, pointed. We will be amazed to learn all the irregular, pock-marked and squared is actually the surface of the most perfect spheres that our eyes can see, in the real world.
Tron is based solely on its field of vision, literally breathtaking, even for the day: it is hard not to gape in front of the style of the film are, of true hyperbole concetrati art of pure madness and visionary by genius. Its key feature is its visual language, the way it communicates with the viewer, through a form of art photonics, based on bold colors, composition built on a concept that can only be metabolized or rejected - there is no middle way . The lines of light against a black background, which characterize the boundaries of materia fisica, sono gli unici elementi che tratteggiano le forme di un mondo composto da realtà vettoriali e asettiche, nel più veritiero degli stili essenziali che una macchina adotterebbe per rappresentare il proprio mondo interiore. La luce e le fonti di luce, gestiti in maniera eccezionale, sono i mezzi che distinguono la materia della realtà; attraverso i colori (ciò che è rosso è solitamente minaccioso e da evitare, ciò che è blu positivo e benefico), e attraverso le forme, abbiamo un immediato riscontro, un messaggio chiaro sulla natura di ciò che ci sta di fronte. L'utilizzo dei colori, soprattutto, è tipico del linguaggio della natura incontaminata; e la natura e il mondo digitale hanno entrambi i propri specific languages, which go beyond the logic of man, and we throw in a semiotic system to which we must inevitably adapt.
The digital world is a mainstream endless horizons and no boundaries, built by the programs in which the Believers put their trust: they are the programmers of the system, the same men, a message that Nietzsche's Tron wants to hand down to posterity, or that everything he tries to play other intelligence intelligence. So we become gods ourselves, in the same proportion that characterizes our current relationship with God.
Tron is also an important step forward for the industry degli effetti speciali: costati trenta miliardi di lire dell'epoca, una cifra impressionante dovuta a quelle grandi quantità di computer graphic industriale, che prima di allora non erano mai state visualizzate sul grande schermo con così tanta nonchalance. Si tratta di vettori ricoperti da una scarna ma spettacolare (per l'epoca) superficie poligonale, che creano i primi modelli 3D che gli spettatori vedranno mai al cinema. Da quel momento, importantissimo nella storia dell'arte, la computer graphic fa il suo ingresso esplosivo nel mercato dell'intrattenimento, offrendo un'anteprima delle magie che essa è in grado di fare, delle infinite possibilità che può dare all'uomo creativo, per espandere la fantasia, per liberarla dai vincoli of reality.
The effort of the visual representation is exhausting and alienating, and for those who made the film for the viewer, which is called a challenge with their ability to understand a conceptual reality. Tron is by far the first example of cinema that takes into account the virtual reality, and a fundamental step in the sci-fi film that deals with artificial intelligence, anticipating issues that will be included in any other situation (we could also cite Matrix, The Lawnmower Man, The Terminator), but, more importantly, ahead of its time on things that in the very immediate future, we would see in real life every day. The videogame industry has provided us with a little spark of heaven in every video game Tron Digital bought, though this was achieved in this industry the ability to create a disruptive force imaginative as that of Tron. Not surprisingly, the official sequel of the movie is just a video game, or Tron 2.0, which incorporates and expands the themes and the charm of the film very effectively.
Another interesting side of Tron is your relationship with video games. The film shows more often than the affinity with the world of video games, which go beyond the all too obvious in common that can be found, because of the medium that is used per renderlo vivo. Già fin da subito, vediamo che la Encom diventa un leader nella creazione dei videogame a carattere mondiale, fatturando milioni di dollari ogni anno. Ci viene presentato un mondo inedito, fatto di soldi e avidità, un mercato che prima di allora era difficile da immaginare.
Il videogioco, inoltre, è l'anima pulsante di Tron: la sfida ai dischi tra Flynn e un altro programma, mostra quanto sarà offerto in futuro, quando il videogiocatore sarà chiamato in prima persona ad interpretare i suoi eroi nei futuri e avanzati giochi, quelli della nostra epoca. Il gioco è l'espressione innocua della natura predatoria dell'uomo, ne rivela gli istinti sopiti, agisce da valvola di vent, and sometimes as in Tron, is the strength of those who can become a hero, if only for a day.
Common features of the video game, Tron, are highly detectable even in the final showdown between Sark and Tron. This is an extremely compelling duel and furious, finally showing a serious comparison, not very long nor short, making clear the obvious difficulties that arise when two forces of equal size are compared in a challenge to the last shot. It 's a typical feature of the game, this, when the forces of the enemy artificial intelligence, are usually such as to bind the human challenger to a long and epic battle. The phase Sark which, after an initial defeat, he returned stronger than is typical: in video games, the final boss has not a single embodiment.
The great visionary of Tron is due almost entirely to the genius of Syd Mead - conceptual artist for movies such as Blade Runner, Star Trek - The Motion Picture, which gave us the most beautiful and scenic images of fantasy ever seen on the big screen. Certain ideas, like that of solar sailing ship (already rare to find a niche in science fiction), or with records of competitions, are the basis for a new way to harness the creativity. The scene of the race with the bike is also the apex lightcycle di questa nuova creatività. Le moto sono una potenziata rappresentazione del concetto alla base del famoso gioco "snake", espanso in un contesto del tutto nuovo. La capacità di andare oltre i sensi dell'uomo, di visualizzare in un linguaggio a noi vicino ciò che non potremo mai vedere, nè comprendere, rendono Tron e il lavoro di Syd Mead uno sforzo di puro genio artistico, che va a collocarsi, a mio avviso, all'interno della storia dell'arte a pieno diritto.
Menzione d'onore anche per gli effetti sonori, in piena armonia con l'epoca della musica digitale e sintetizzata, e per la colonna sonora di Wendy Carlos, capace di interpretare il mondo atipico di Tron fatto di bit e pixel in forma musicale, con temi elettronici discendenti and parents are not accredited by the prog new wave.
Meanwhile, Dillinger has created a very powerful program, called MCP (Master Control Program), which soon spread itself by absorbing other programs and infiltrating computer networks around the world. While the MCP gets to develop a cold, cynical and self-determinism, he became Dillinger the best ally. Between the two of them there is a precarious balancing act, as to who is really in charge, but soon the MCP threat to its creator to publish his misdeeds, if they do not lend faithful service. While the MCP program to take control of the Pentagon and the Kremlin, Alan (Bruce Boxleitner) and Lora (Cindy Warren), two programmers Friends Flynn, they discover that the MCP has excluded from the system. Concerned contacted Flynn, who has never stopped groped for justice for himself. This results in a night attack to Encom, after which Flynn is, by deception, MCP scanned into the system, to eliminate it. Part of the program now, the only hope for Flynn is to find TRON, the monitoring program created by his friend Alan, a brutal dictatorship to destroy the MCP, which has made the world a program of prison regime, dark and violent.
Write a review for Tron is a thankless and difficult, thankless because, with the best will in the world, is really a challenge to bring words to the extreme visions of a brave and daring project, the limits of human imagination; difficult because, always with the best will in the world, this is a film that is based on a conceptual world, such as computer programs, outside of our plane of reality.
Tron is the brainchild of brilliant Liseberger, the director, who, fond of computers and video games, decided to create something completely new, radical film that goes beyond the sense that the public had until the time of the movie. Indeed, it was so revolutionary that the same result can not quite grasp the whole kaleidoscope of surreal and unreal metaphysical reality of Tron.
The story, simple enough, imports from the world of many more words and situations, then it could absorb. It was a time, that beginning of the eighties (or the end of the seventies, if you want), in which computing and graphics capabilities of video games, were in their infancy compared to our current and unexpected standard. The very concept of sending the viewer into the world of computers, made up of specific programs, electronics, energy flows and mechanical alien man, was something extremely revolutionary. It 's a world where everyone has a very specific place, where death occurs for removal from the system, and where the staple food is pure energy (represented poetically as a stream of water). But it is also a world where the strongest can still override the weaker - as happens in the story the MCP, establishing a dictatorial regime on the network that hosts the programs, creating a rigid hierarchy, a system which is impossible to escape from the suffocating. The similarities between our and the world of Tron are more than you can find at a first superficial examination. Find it difficult to identify in a world of vectors and pixels, but if it does not seem so, if through our imaginary magnifying glass cutting our reality, we find that nature has created a world very similar to that of square and angular Tron, made of porous surfaces, polygonal, pointed. We will be amazed to learn all the irregular, pock-marked and squared is actually the surface of the most perfect spheres that our eyes can see, in the real world.
Tron is based solely on its field of vision, literally breathtaking, even for the day: it is hard not to gape in front of the style of the film are, of true hyperbole concetrati art of pure madness and visionary by genius. Its key feature is its visual language, the way it communicates with the viewer, through a form of art photonics, based on bold colors, composition built on a concept that can only be metabolized or rejected - there is no middle way . The lines of light against a black background, which characterize the boundaries of materia fisica, sono gli unici elementi che tratteggiano le forme di un mondo composto da realtà vettoriali e asettiche, nel più veritiero degli stili essenziali che una macchina adotterebbe per rappresentare il proprio mondo interiore. La luce e le fonti di luce, gestiti in maniera eccezionale, sono i mezzi che distinguono la materia della realtà; attraverso i colori (ciò che è rosso è solitamente minaccioso e da evitare, ciò che è blu positivo e benefico), e attraverso le forme, abbiamo un immediato riscontro, un messaggio chiaro sulla natura di ciò che ci sta di fronte. L'utilizzo dei colori, soprattutto, è tipico del linguaggio della natura incontaminata; e la natura e il mondo digitale hanno entrambi i propri specific languages, which go beyond the logic of man, and we throw in a semiotic system to which we must inevitably adapt.
The digital world is a mainstream endless horizons and no boundaries, built by the programs in which the Believers put their trust: they are the programmers of the system, the same men, a message that Nietzsche's Tron wants to hand down to posterity, or that everything he tries to play other intelligence intelligence. So we become gods ourselves, in the same proportion that characterizes our current relationship with God.
Tron is also an important step forward for the industry degli effetti speciali: costati trenta miliardi di lire dell'epoca, una cifra impressionante dovuta a quelle grandi quantità di computer graphic industriale, che prima di allora non erano mai state visualizzate sul grande schermo con così tanta nonchalance. Si tratta di vettori ricoperti da una scarna ma spettacolare (per l'epoca) superficie poligonale, che creano i primi modelli 3D che gli spettatori vedranno mai al cinema. Da quel momento, importantissimo nella storia dell'arte, la computer graphic fa il suo ingresso esplosivo nel mercato dell'intrattenimento, offrendo un'anteprima delle magie che essa è in grado di fare, delle infinite possibilità che può dare all'uomo creativo, per espandere la fantasia, per liberarla dai vincoli of reality.
The effort of the visual representation is exhausting and alienating, and for those who made the film for the viewer, which is called a challenge with their ability to understand a conceptual reality. Tron is by far the first example of cinema that takes into account the virtual reality, and a fundamental step in the sci-fi film that deals with artificial intelligence, anticipating issues that will be included in any other situation (we could also cite Matrix, The Lawnmower Man, The Terminator), but, more importantly, ahead of its time on things that in the very immediate future, we would see in real life every day. The videogame industry has provided us with a little spark of heaven in every video game Tron Digital bought, though this was achieved in this industry the ability to create a disruptive force imaginative as that of Tron. Not surprisingly, the official sequel of the movie is just a video game, or Tron 2.0, which incorporates and expands the themes and the charm of the film very effectively.
Another interesting side of Tron is your relationship with video games. The film shows more often than the affinity with the world of video games, which go beyond the all too obvious in common that can be found, because of the medium that is used per renderlo vivo. Già fin da subito, vediamo che la Encom diventa un leader nella creazione dei videogame a carattere mondiale, fatturando milioni di dollari ogni anno. Ci viene presentato un mondo inedito, fatto di soldi e avidità, un mercato che prima di allora era difficile da immaginare.
Il videogioco, inoltre, è l'anima pulsante di Tron: la sfida ai dischi tra Flynn e un altro programma, mostra quanto sarà offerto in futuro, quando il videogiocatore sarà chiamato in prima persona ad interpretare i suoi eroi nei futuri e avanzati giochi, quelli della nostra epoca. Il gioco è l'espressione innocua della natura predatoria dell'uomo, ne rivela gli istinti sopiti, agisce da valvola di vent, and sometimes as in Tron, is the strength of those who can become a hero, if only for a day.
Common features of the video game, Tron, are highly detectable even in the final showdown between Sark and Tron. This is an extremely compelling duel and furious, finally showing a serious comparison, not very long nor short, making clear the obvious difficulties that arise when two forces of equal size are compared in a challenge to the last shot. It 's a typical feature of the game, this, when the forces of the enemy artificial intelligence, are usually such as to bind the human challenger to a long and epic battle. The phase Sark which, after an initial defeat, he returned stronger than is typical: in video games, the final boss has not a single embodiment.
The great visionary of Tron is due almost entirely to the genius of Syd Mead - conceptual artist for movies such as Blade Runner, Star Trek - The Motion Picture, which gave us the most beautiful and scenic images of fantasy ever seen on the big screen. Certain ideas, like that of solar sailing ship (already rare to find a niche in science fiction), or with records of competitions, are the basis for a new way to harness the creativity. The scene of the race with the bike is also the apex lightcycle di questa nuova creatività. Le moto sono una potenziata rappresentazione del concetto alla base del famoso gioco "snake", espanso in un contesto del tutto nuovo. La capacità di andare oltre i sensi dell'uomo, di visualizzare in un linguaggio a noi vicino ciò che non potremo mai vedere, nè comprendere, rendono Tron e il lavoro di Syd Mead uno sforzo di puro genio artistico, che va a collocarsi, a mio avviso, all'interno della storia dell'arte a pieno diritto.
Menzione d'onore anche per gli effetti sonori, in piena armonia con l'epoca della musica digitale e sintetizzata, e per la colonna sonora di Wendy Carlos, capace di interpretare il mondo atipico di Tron fatto di bit e pixel in forma musicale, con temi elettronici discendenti and parents are not accredited by the prog new wave.
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