The baccalaureate's thesis "Analysis of "Koyaanisqatsi" aim is to prove that the film “Koyaanisqatsi" have a detail structure and that the film has very concrete mission. This thesis looks the form and contents of "Koyaanisqatsi" and tries to understand why the director has used the realities present in the film and which meaning they have had for the director. What are the subsequential, spatial and conceptual connections in the film and what main structure the film have. This thesis consists of three main chapters: "Analysis of “Koyaanisqatsi" Framework," "Analysis of “Koyaanisqatsi”" Content," "Mapping "Koyaanisqatsi."
In the "Analysis of “Koyaanisqatsi" Framework” is given an analysis of the shots showing pictographs and spacecraft's which appear at the beginning and at the end of the film. In the "Analysis of “Koyaanisqatsi” Content" the author of this thesis shows how are the ideas of the five thinkers, who appear in the ending titles as the main ideologists for the director, present in the film. In "Mapping "Koyaanisqatsi" is shown that the film has a narrative and detailed structure. Comparing the “Koyaanisqatsi” with the “Star Wars: Episode VI Return of the Jedi,” which was the most popular film in the USA in 1983, proves that the “Koyaanisqatsi” is highly marked towards western mainstream culture.
This thesis ends that the main events which inspired the director doing the "Koyaanisqatsi" were the emotional response to the high level of inequity in American society and the understanding that the technological progress does not bring benefic for humankind. The "Koyaanisqatsi" shows the modern society, but is named in language used in archaic society. The background of the film is mythological. The creators of “Koyaanisqatsi” have applied also an ancient form of ritual to the film. The main content of the film is conflict between the old and the new normative: living together in nature and living in technology. Allusion for a conflict can be found in the shots of the pictographs and spacecraft's shown in the framework of the film.
Godfrey Reggio has mainly used the ideas from Jacques Ellul, Ivan Illich, David Monongye, Guy Debord and Leopold Kohl. Jacques Ellul argues that the technology has become sacral. By the help of mass technology it turns the natural world into a technological milieu. By Ivan Illich, the motorized transport needs too much energy, is ineffective, consumes space and produces social inequity. David Monongye founds that by producing and consuming electricity western people have turned the world out of balance which causes a catastrophe. Guy Debord argues that western world got high quality in spectacles but not high quality in life. Leopold Kohr emphasizes that wherever there is something wrong, the main cause will always be the one: something is too big. All objects and institutions which are outside human measure produce high level of aggression and idiotism.
These ideas have been presented by a collage of documental shots which show different places in United States of America. With music and specific film technique the context and meaningfulness has been added into this collage. The main techniques used in film are fast and slow motions, artistic viewpoint with the camera and a dualistic montage. In the film is mainly shown the biggest and most popular objects varied with little, almost unnoticed, hint details. In virtue of this kind of collage “Koyaanisqatsi” can be interpreted in various ways – even opposite from its primal mission.
"Koyaanisqatsi" is carefully planned and have a concrete mission. The film questions the ideology of western progress. It produces a pessimistic vision of future and tries to demolish the myth of technological happiness. The film is oriented towards to technology and objects which have accepted in modern society aggressively (modern objects, television-sets and spacecraft are demolished). The makers of the “Koyaanisqatsi” have not only created this film, but have also demonstrated it in various cities in different sides of the world.
The film "Koyaanisqatsi" is opposed to the 1983 Hollywood box-office hit "Star Wars: Episode VI Return of the Jedi." Being opposed to the most popular film in USA shows that the film "Koyaanisqatsi" is highly marked motion picture.
In the "Analysis of “Koyaanisqatsi" Framework” is given an analysis of the shots showing pictographs and spacecraft's which appear at the beginning and at the end of the film. In the "Analysis of “Koyaanisqatsi” Content" the author of this thesis shows how are the ideas of the five thinkers, who appear in the ending titles as the main ideologists for the director, present in the film. In "Mapping "Koyaanisqatsi" is shown that the film has a narrative and detailed structure. Comparing the “Koyaanisqatsi” with the “Star Wars: Episode VI Return of the Jedi,” which was the most popular film in the USA in 1983, proves that the “Koyaanisqatsi” is highly marked towards western mainstream culture.
This thesis ends that the main events which inspired the director doing the "Koyaanisqatsi" were the emotional response to the high level of inequity in American society and the understanding that the technological progress does not bring benefic for humankind. The "Koyaanisqatsi" shows the modern society, but is named in language used in archaic society. The background of the film is mythological. The creators of “Koyaanisqatsi” have applied also an ancient form of ritual to the film. The main content of the film is conflict between the old and the new normative: living together in nature and living in technology. Allusion for a conflict can be found in the shots of the pictographs and spacecraft's shown in the framework of the film.
Godfrey Reggio has mainly used the ideas from Jacques Ellul, Ivan Illich, David Monongye, Guy Debord and Leopold Kohl. Jacques Ellul argues that the technology has become sacral. By the help of mass technology it turns the natural world into a technological milieu. By Ivan Illich, the motorized transport needs too much energy, is ineffective, consumes space and produces social inequity. David Monongye founds that by producing and consuming electricity western people have turned the world out of balance which causes a catastrophe. Guy Debord argues that western world got high quality in spectacles but not high quality in life. Leopold Kohr emphasizes that wherever there is something wrong, the main cause will always be the one: something is too big. All objects and institutions which are outside human measure produce high level of aggression and idiotism.
These ideas have been presented by a collage of documental shots which show different places in United States of America. With music and specific film technique the context and meaningfulness has been added into this collage. The main techniques used in film are fast and slow motions, artistic viewpoint with the camera and a dualistic montage. In the film is mainly shown the biggest and most popular objects varied with little, almost unnoticed, hint details. In virtue of this kind of collage “Koyaanisqatsi” can be interpreted in various ways – even opposite from its primal mission.
"Koyaanisqatsi" is carefully planned and have a concrete mission. The film questions the ideology of western progress. It produces a pessimistic vision of future and tries to demolish the myth of technological happiness. The film is oriented towards to technology and objects which have accepted in modern society aggressively (modern objects, television-sets and spacecraft are demolished). The makers of the “Koyaanisqatsi” have not only created this film, but have also demonstrated it in various cities in different sides of the world.
The film "Koyaanisqatsi" is opposed to the 1983 Hollywood box-office hit "Star Wars: Episode VI Return of the Jedi." Being opposed to the most popular film in USA shows that the film "Koyaanisqatsi" is highly marked motion picture.
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