From "Spectacle" to "Spectacle": The Evolutionary Perspective of the Implications of Artificial Intelligence Imagery in Science Fiction Films
Science fiction cinema represents a perceptual rehearsal and presentation of a "post-human illustrated handbook," naturally characterized by imagination and curiosity. Artificial intelligence (AI) imagery in science fiction films serves as a crucial object of interpretation within the "cultural spectacle" of film studies. This is based on its ability to fully mobilize the audience's sensory and physiological functions while providing a sense of novelty. AI imagery not only acts as a projection of the audience's imagination regarding specific events in their reality but also plays a role in deducing "post-human" scenarios based on immediacy. Under the guidance of national macro-policies, the booming AI industry creates market opportunities for the construction of AI imagery. Consequently, the localized construction of AI imagery serves as an innovative result of "national strategic imagery" providing reciprocal feedback to the real-world AI industry.
[1] Baudrillard, J. (2005). The mirror of production (H. Yang, Trans.). Central Compilation & Translation Press. (Original work published 1973)
[2] Chen, X. (2012). Reflections on the lack of imagination in Chinese cinema. Contemporary Cinema, (11), 98–101.
[3] Debord, G. (2007). The society of the spectacle (Z. Wang, Trans.). Nanjing University Press. (Original work published 1967)
[4] Debord, G. (2017). The society of the spectacle (X. Zhang, Trans.). Nanjing University Press. (Original work published 1967)
[5] Johnston, K. M. (2016). Science fiction film: A critical introduction (T. Xia, Trans.). World Publishing Corporation.
[6] Kellner, D. (2003). Media spectacle (A. Shi, Trans.). Tsinghua University Press.
[7] Lei, Y. (Ed.). (2005). Stanley Kubrick. Liaoning Fine Arts Publishing House.
[8] Merleau-Ponty, M. (2001). Phenomenology of perception (Z. Jiang, Trans.). The Commercial Press. (Original work published 1945)
[9] Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6–18.
[10] Mulvey, L. (2015). How I came to write "Visual Pleasure and Narrative Cinema" and some retrospective thoughts. Sight & Sound, 25(6), 50.
[11] Murdy, W. H. (1999). A modern view of anthropocentrism (J. Zhang, Trans.). Philosophy Digest, (2), 12–18.
[12] National Film Work Conference held in Beijing. (2023). Modern Movie Technology, (6), 4.
[13] Sartre, J. P. (2018). Sartre on human freedom (F. Li, Comp. & Trans.). Huazhong University of Science and Technology Press.
[14] Singer, P. W. (2016). Wired for war: The robotics revolution and conflict in the 21st century (L. Lu & Y. Zhou, Trans.). Huazhong University of Science and Technology Press.
[15] Song, H. F., & Cheng, Q. (2024). Appearance, aura, norms: An exploration of the personification construction of virtual anchors in the AI era. China Television, (5), 72–79.
[16] Wang, T. T. (2019). Research on artificial intelligence images in American science fiction films [Master's thesis, Zhengzhou University].
[17] Yang, C. X., & Cheng, Q. (2023). Embodiment, interface and tactility: Image interaction of audio-visual art in new media environment. Journal of Beijing Film Academy, (9), 57–65.
[18] Zhou, X. (2005). On spectacle cinema and visual culture. Literature & Art Studies, (3), 18–26.
[19] Zhu, W. X., Li, J. R., & Chen, Y, T. (2023). Technological images and ethical dilemmas in the science fiction film Bicentennial Man. Beauty & Times (Part II), (12), 140–142.
