2020/1 – #Intelligence
Browsing 2020/1 – #Intelligence by Issue Date
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- ReviewFuturist Cinema / Cubism and FuturismBugaj, Malgorzata (2020-05-27)
- ReviewQueer City Cinema’s ‘Qaleidoscope’: Festival movements, curation experiments, and queer experimentalityKartal, Zeynep (2020-05-27)
- ReviewVR on the film festival circuit: IDFA & IFFR 2017-2019Fux, Niv (2020-05-28)
- ArticleNothing short of a revolution: A conversation with Frank Saptel of the Canadian Labour International Film FestivalVelásquez-Buriticá, Juan (2020-06-14)
- ArticleThe play of iconicity in Lars von Trier’s THE HOUSE THAT JACK BUILTStavning Thomsen, Bodil Marie (2020-06-14)This article studies the function of the iconic sign and the operation of diagram-icons in Lars von Trier’s The House That Jack Built (2018), a film about a serial killer Jack (Matt Dillon) who builds a house of corpses before being escorted to hell. What is remarkable in this film is von Trier’s specific use of filmic iconicity in probing the value of Western icons in art and architecture. In voiceover digressions from the narrative action following Jack’s serial killing, a comparison is made between the iconic power of murder on a grand scale (specified as genocides throughout history) and culturally valuated icons of art and architecture. The article focuses on the audiovisual icons in the film that invites the audience to diagrammatic readings and fabulation throughout and beyond the film’s narrative content. After a short in-troduction to the iconic sign and the diagram-icon respectively, the exploration of the film takes its starting point in how Jean-Luc Godard used the iconic force of the color red in Pierrot le Fou (1965). Even though the significant use of red throughout The House That Jack Built is justified within the context of serial killing, its many reiterations also qualifies ‘red’ as a diagrammatic feature combining iconic elements transversally. This diagrammatic feature foregrounds the film’s fabu-latory and haptic levels beyond its strictly narrative content, making way for the wider philosophical comments expounded ‘in the film’ by the figure of Verge (Bruno Ganz). His extradiegetic voice becomes in-tradiegetic in the last part of the film as his body appears, acting as a guide for Jack into a version of Dante’s hell.
- ReviewMegaphone, Molotov, Moviola: 1968 and Global Cinema / Celluloid RevoltZavrl, Nace (2020-06-14)
- ReviewMaking the Xapiri dance: Photography and shamanism in the exhibition Claudia Andujar, The Yanomami StruggleSchefer, Raquel (2020-06-14)
- ReviewCinema and a ‘time-varying universe’: An interview with curator Antonio SomainiLacurie, Occitane; Sauvage, Barnabé (2020-06-14)
- ArticleFrom ‘video essay’ to ‘video monograph’? Indy Vinyl as academic bookGarwood, Ian (2020-06-15)Sarah Barrow argues that the video essay provides a ‘viable alternative to the academic book’. This article explores that claim, considering how a video essay-based project can pursue a single topic in the man-ner of a monograph. The case study is Indy Vinyl, my collection of video essays and writing about vinyl records in American Independ-ent Cinema. I argue that an approach informed by traditional schol-arly values should be augmented by more exploratory thinking, when moving from written to practice-based forms of film criticism.
- Review(Ad)Dressing film history: Film and Fashion amidst the Ruins of Berlin / Film, Fashion and the 1960sScharmann, Bianka-Isabell (2020-06-26)
- ArticleA Machine for ViewingMisek, Richard (2020-07-02)A Machine for Viewing is a three-episode hybrid of real-time VR experience, live performance, and video essay in which three moving image makers explore how we now watch films by putting various ‘machines for viewing’, including cinema and virtual reality, face to face.
- ArticleA Machine for Viewing – 1 – A Frame of the MindShackleton, Charlie (2020-07-02)
- ArticleA Machine for Viewing – 3 – Manual for a Disassembly of CinemaRaby, Oscar (2020-07-02)
- ArticlePlaying intelligence: On representations and uses of artificial intelligence in videogamesHennig, Martin (2020-07-06)Computer games take up and extend traditional discourses on technology and artificial intelligence (AI). Moreover, representations of AI in computer games include not only narrative aspects but game mechanics as well. This contribution focuses on what distinguishes this kind of AI representation from other medial forms, and on how different types of AI representation can be identified within the computer games field. Overall, representations of AI make visible specific aspects and ideologies implied by the gameplay. From this perspective, it is outlined how these representations work either as support for fantasies of self-empowerment or as an emphasis on medial determination; moreover, cultural functions and meanings provided in this context are highlighted.
- ArticleGhost in the (Hollywood) machine: Emergent applications of artificial intelligence in the film industryChow, Pei-Sze (2020-07-06)This article examines the nascence of artificial intelligence (AI) applications in the film industry at the greenlighting stage, where decisions are made as to the feasibility and earning potential of film projects. Through a qualitative analysis of company case studies, interviews, and media discourse, I interrogate and tease out the ethical, cultural, and industrial implications emerging from the use of AI in influencing decisions about film production, particularly the ways the use of AI might influence notions of creativity, labour, and reception. The article sets out possible research agendas for the future to critically engage with this emerging phenomenon.
- ArticleThe artificial intelligence of a machine: Moving images in the age of algorithmsEugeni, Ruggero; Pisters, Patricia (2020-07-06)This article introduces the special section #Intelligence, which includes seven essays addressing the impact of artificial intelligence on cinema and media from a cultural perspective. More particularly, three levels of pertinence are focused on. For the first level, selected papers analyse several representations of non-human intelligence confronted with human intelligence, as provided by film, television series, and video games. On the second level, a set of mutual functioning dynamics between AI and the media are identified and scrutinised. On the third level, the contributing authors consider how AI algorithms lead cinema and media theory to deeply rethink its assumptions about creating and viewing moving images.
- ArticleClipping us together: The case of the Google Clips cameraBar-Gil, Oshri (2020-07-06)This article uses the Google Clips camera as a case study to illustrate the impact of autonomous machine learning on self-perception, and to investigate how ‘delegation’ of our self to those cameras occurs. The research is based on reviews of the Google Clips camera, analysed using Computer Assisted Qualitative Data Analysis (CAQDAS) and interpreted using Don Ihde’s postphenomonological framework complemented by Bruno Latour’s relation analysis. Positioning the Clips camera as a technological mediator, the analysis concentrates on human-technology-world interaction relations. The research findings include changes in self-perception through complex concepts, such as autonomy, agency, and rationality.
- ArticleAugmented consciousness: Artificial gazes fifty years after Gene Youngblood’s Expanded CinemaBiggio, Federico (2020-07-06)The article aims to question the concept of ‘expanded cinema’ proposed by Youngblood in 1970, by taking into account three ‘artificial gazes’, corresponding to three exemplar technologies of the contemporary media scenario, commonly conceived as tools for the augmentation of both the visual perception and the cognition of the human being. Likewise, the experimental cinema, the technologies of augmented reality, machine learning, and search engine algorithms bring out the consciousness of the individuals in order to personalise the user experience in a computational way. Simultaneously, they are commonly intended as ludic and irrational experiences offered by the entertainment industry. The article’s purpose is therefore to tackle the ambiguity among the exact knowledge assured and produced by these technologies and the subjectivity of the gaze set by them. By recovering Youngblood’s inheritance, expanded cinema is not just a path to free the spectator’s gaze from the fictional representation of the world produced by the entertainment industry, but also a new media condition in which the users are requested to interpret and communicate the real world in a truthful way.
- ArticleThe Golem in the age of artificial intelligenceVudka, Amir (2020-07-06)What can the Jewish myth of the Golem teach us about artificial intelligence? This article explores the Golem as one of the earliest AI prototypes and a myth that became a foundational story of sci-fi cinema. The Golem sets the parameters of opposition between men and intelligent or sentient machines, and at the same time points to possible third options beyond the dialectic of control.
- ArticleCritical re-modelling of algorithm-driven intelligence as commonist media practiceMiyazaki, Shintaro (2020-07-06)In order to understand artificial intelligence an approach called critical re-modelling operating within commonist media practice might be useful. Critical re-modelling builds on media archaeology, cognitive mapping, countervisuality, and critical theory; while commonist media practise is framed as a cyborgian approach à la Donna Haraway, critically inquiring and applying computational models. Selected works of art by Rybn, Algolit, and Tactical Tech provide concrete examples of critical re-modelling. The article concludes by arguing that the wider educational implications in humanities-driven scholarship of media cultures need to be reconsidered, in case commonist media practice seriously want to participate in the coming societal transformations of this decade.