AI Artificial Intelligence
A textual and contextual analysis of Steven Spielberg's 'A.I. Artificial Intelligence' by Mark Skinner (York University, UK – 01/2012) (David: 'A.I. Artificial Intelligence', 2001) (Pinocchio: 'The Adventures of Pinocchio', 1883) (Roy Batty: 'Blade Runner', 1982) (Sonny: 'I, Robot', 2004) (HAL – '2001: A Space Odyssey', 1968) “Je pense, donc je suis” (Descartes, R. 1637) Cinema presents us with a pathway to envisage a myriad of pasts, presents and futures. Some are based on fact, whilst others are shaped from fanciful, hopeful, or calculated fiction. Science Fiction often attempts to deliver us to technologically feasible futurescapes, whether they be Earth bound or in far away galaxies. Their premises sometimes surround exaggerated projections of our present day and the technologies that grow within such a time. Thus, robots have consistently appeared in film over the years, from the Machine-Man in 'Metropolis' (1927) to Robby the Robot in 'Forbidden Page 2 Planet' (1956) to possibly the most famous 'non human' double act of all time, R2-D2 and C3-PO in 'Star Wars' (1977), who open the gates to a plethora of robots/ androids thereafter, such as Ash ('Alien'/ 1979), Terminator ('The Terminator'/ 1984), Johnny 5 ('Short Circuit'/ 1986), Sentinels ('The Matrix'/ 1999), Spider Robots ('Minority Report'/ 2002), WALL.E ('WALL.E'/ 2008), Surrogates ('Surrogates'/ 2009) and Atom ('Real Steel'/ 2011). The list is far from exhausted and is set to be added to in the coming years, not least with Steven Spielberg's own 'Robopocalypse' in 2013. Such is this desire to design and play with all shapes and sizes of robots on screen, that it demonstrates the ongoing human obsession with creating a fully functioning replica of itself.
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