Automata (1978)
Automata (1978)
Overview
The combination of insular wonderland with open cityscape is more tightly realized in Automata. For this film, Sokoloff challenged Grauer to make things from a bag of wind-up toy motors. He then spliced together a cycle of footage from his favorite city sites. Finally, he shot Grauer’s creations on the same film in a double exposure. The result is a day in the life of a shaman toy gang, set loose upon Manhattan. Automata recalled references ranging from Godzilla to the stop-motion Rudolph the Red-Nosed Reindeer. Technically, Automata is more roughly hewn than either of these predecessors. Only when the film’s toys are superimposed on an amorphous background (like moving lights or water) do they convincingly seem a part of their environment. Nevertheless, the toys’ jerky motion, the film cuts’ jagged beat, and the staccato George Anthiel score all create a charming, childlike, unexpectedly graceful effect.
Starring Cast
Rating & Dimensions
Not Rated
Overview
The combination of insular wonderland with open cityscape is more tightly realized in Automata. For this film, Sokoloff challenged Grauer to make things from a bag of wind-up toy motors. He then spliced together a cycle of footage from his favorite city sites. Finally, he shot Grauer’s creations on the same film in a double exposure. The result is a day in the life of a shaman toy gang, set loose upon Manhattan. Automata recalled references ranging from Godzilla to the stop-motion Rudolph the Red-Nosed Reindeer. Technically, Automata is more roughly hewn than either of these predecessors. Only when the film’s toys are superimposed on an amorphous background (like moving lights or water) do they convincingly seem a part of their environment. Nevertheless, the toys’ jerky motion, the film cuts’ jagged beat, and the staccato George Anthiel score all create a charming, childlike, unexpectedly graceful effect.
Starring Cast
Detailed Bias Analysis
Primary
The film's central subject, the pursuit of individual achievement and excellence in the dangerous field of stunt work, is largely apolitical and does not explicitly promote either progressive or conservative ideologies.
Based solely on the title "The Greatest Stuntman Alive" and without further details, the film is presumed to feature traditional casting, focusing on a male lead without explicit DEI-driven recasting. The narrative is expected to center on the protagonist's achievements in stunt work, without critiquing traditional identities or incorporating explicit DEI themes.
Secondary
No information was provided regarding the plot, characters, or themes of 'The Greatest Stuntman Alive'. Therefore, an evaluation of LGBTQ+ portrayal is not possible, and it is categorized as N/A due to the absence of depiction details.
Based on its title, 'Beginning Responsibility: A Lunchroom Goes Bananas' is likely an educational film centered on social conduct. There is no information or contextual clue to suggest the presence of transsexual characters or themes, resulting in an N/A rating for portrayal.
The movie does not contain any action or adventure elements.
The film's characters are not identified as adaptations of pre-existing material or historical figures with established genders. Without prior canon, no gender swap can be identified.
The film "The Greatest Stuntman Alive" (1978) is an original production. No source material, prior canon, or historical figures are provided or widely known for this film, thus there is no established racial baseline for its characters to be compared against.