johannes-grenzfurthner Debates triggered by postmodern culture have directed our attention towards questions of representation and relevance of "history" and stories -- i.e. The challenging proclamation of a post-histoire, the realization of the impossibility of a meta-narrative record of history; the clash between reality and sign systems, the difference between fact and fiction, the impossibility of neutral contemplation or witnessing as well as the positioning of subjective awareness within such representations etc.The future is a kind of carrot, the sort tied just in front of the cartoon donkey's nose so it goes to work, goes off to war, learns Javascript and knows which bits to laugh at in Woody Allen's Sleeper. You can imagine.

suite92 The Three Acts: The initial tableaux: In 1973, clarinetist and health food store owner Miles Monroe goes to hospital for a minor operation to repair ulcer damage. In 2173, he is revived from cryogenic stasis by rebel physicians.Just as his orientation starts to succeed, the police raid the health facility; his revival was illegal.To escape, Miles disguises himself as a robotic servant. He is delivered to the house of citizen Luna Schlossel, who assigns him tasks that illustrate life in 2173.Delineation of conflicts: The State, under the direction of The Leader, seeks to have everyone fully assimilated into society. Miles kidnaps Luna to escape yet another police raid. Luna is initially loyal to the State, but when captured and threatened with mind wipe, she converts to the rebel cause.Miles is captured, but not before Luna escapes with his help. Miles is assimilated by the State. Luna finds the resistance, and becomes enamored of Enro, the resistance boss, and with his ideology. By the time Luna and Miles meet again, their positions have reversed, and he does not remember her.Erno tasks Luna with getting Miles to the rebel camp. They set about restoring Miles' memory. Erno sends Luna and Miles to stop the Aries project. The State, of course, has other ideas. Miles' jealousy threatens the rebel mission.Resolution: The showdown is about the fate of the Aries project (not sure about the spelling here; I think I auto-corrected it).

mark.waltz I would go into hysterics if I were to have aluminum foil pulled off my face and find out that I was no longer in Greenwich Village 1973 and in a civilization run by a nose some 200 years later. That's the plight that Woody Allen faces in this science fiction farce where he is seen waking up from a two century nap as if he was a combination of Stan Laurel and Buster Keaton. Slowly snapping out of his Rip Van Winkle sleep, he finds himself at the mercy of rebel force scientists and the army protecting the commander who presents God like messages at the end of the television airing day yet has taken away most of the world's freedoms. In Woody Allen's hands, this is science fiction satire at its darkest and funniest, and what happens in the next 90 minutes will either have you shaking your head in annoyance over the silliness or laughing your head off.I am in the party of the second part, chuckling hysterically at the antics surrounding Woody and his kidnapping victim, Diane Keaton, whom he abducted after she discovered that he was wanted by the military for scientific study. Woody ultimately gets under her skin, not creep-crawly like a bug, but winning her favor by showing her how things used to be, that sex didn't have to take place in a tube and last a mere 30 seconds. Posing as a robot butler in their initial sequence, Woody beats up a blob of some kind in her kitchen, later brings her giant celery sticks, strawberries and bananas, and a big piece of cheese the size of a semi truck tire. He ends up in a tree thanks to a non-working jet pack, ends up floating around in a huge rubber suit that seems to defy him of gravity, and ultimately has an ingenious way of disposing of the leader's nose.This has just the slightest of stories, but the sight gags that help it move briskly along are often tear enducingly funny. Robots equipped with Jewish accents (provided by Jackie Mason), ultra feminine gay mannerisms and those idle simply bumping into walls or even having their heads ripped off show from Woody's mind what our future could be like. Woody is hysterical as he goes through pictures of several 19th and 20th century figures and describes what he recalls them to be. But as I mentioned, this is not a comedy for every taste. Growing up, I recall my father laughing hysterically at this when first shown on TV and my mother shaking her head and rolling her eyes in disgust. The film really isn't dirty at all other than several minor references to sexual activity and perhaps some of Woody's Jewish New York references might go above the heads of those unfamiliar with that culture. But for a Goy like me with experience dealing with Jewish New Yorkers professionally and socially, the references are more than familiar, and that made it all the more funny.

Kev11sky I recently watched this film again, in this futuristic year 2015. (My mind is comprised of its own original thinking parts).This film has all kinds of current themes about time travel, artificial humanoids, synthetic intelligence, worldwide corporate/government control, identity, media influence, cultural change, and so on and on.Much of it resembles recent sci-fi tropes in movies and TV... mixed with Woody Allen's satiric and slapstick comedy, and Diane Keaton's wonderful acting.I wonder if Philip K. Dick ever saw this film.I wonder what is meant by "sexual nightmares"... And what is "Aries Day"?? Could it be the actuation of fast CLONING of the Great Leader himself? Along with his nose?