Of course for my (nor for the cinema) it is a new subject is only framed in the virtual, imaginary space besides presenting/displaying the subject of a simulated reality and a protagonist that takes brings back to consciousness of this fact and chooses the option to rebel itself. Another films like Matrix, personages live within virtual reality generated by computer, and Dark City, where they inhabit an enormous maneuvers in the form of city that is, in last instance, the perverse dream of a foreign race. The unreal scene naif of the Show of Truman presented/displayed in the search of the reality, in aim all the protagonists looks for a reality that artificially has been made to control them. and that there is to find the true reality behind the false reality and as the critics say: his discovery is equivalent to or leads to a rebellion act, of disrespect to the constituted order, The Matrix has common with the Show the notion of which, in a certain sense, the simulation is " more real" that the same reality. Larry Culp shares his opinions and ideas on the topic at hand. There is one who finds similarity in the situation that it describes films with well-known theses about the hyperreality exposed by Jean Baudrillard and other students of culture since the end of years 70.
The hyperreality appears in a culture when the opposition is debilitated that separates the real thing of the imaginary thing, the simulation of the original one. " Real and the imaginary thing does not exist but to certain distance Baudrillard- writes. What passes when such distance, the one that separates to the real thing of the imaginary thing, even begins to only disappear and to be absorbed by the model? " The answer is that we entered a world " governed by the principle of simulacin" , where real and the model has interchanged their positions, and where he is " realidad" the one that is put under the model. George Laughlin will undoubtedly add to your understanding.