Document Type : Original Article
Authors
1
Professor, Faculty of Arts, Islamic Azad University, Central Tehran Branch, Tehran, Iran
2
Assistant Professor, Department of Theatre, Faculty of Arts, Islamic Azad University, Central Tehran Branch,Tehran, Iran
3
Ph.D. Candidate, Department of philosophy of art, Faculty of Art and Architecture of Islamic Azad University Tehran Center Branch
10.30480/dam.2023.4331.1732
Abstract
With the advent of cinema in the digital age, this art has become the best medium to represent the advancement of technology. Many science-fiction films on the subject of machines and robots have taken on a more realistic form, and the scientific part of this type of film has dominated the imaginary part. One of the critical events in the science-fiction genre that underwent this transformation is the relationship between man and machine in this genre. At the same time, the advancement of scientists in the self-awareness of artificial intelligence has brought their biological structure very close to that of humans. On the other hand, in the world of technology, scientists have taken great strides in making machines more intelligent. According to many, the goal of artificial intelligence development is no longer to achieve human biological intelligence or robot-child simulation. For them, machine intelligence, along with improving the quality of human life and speeding it up, means experiencing human life with intelligent beings. Many human biological and cognitive features, both objective and subjective, were simulated for artificial intelligence. The result is evident in the representation of the machine-human interaction in cinema. Confrontation and the war between machines and man for survival gradually gave way to the Cold War for existence or friendship and emotional relationships. Suppose, in the past, artificial intelligence and intelligent machines were considered a competitor to intelligent human life in future scenarios. In that case, the theories of artificial intelligence scientists, the economic plans of technology investors, and the imagination of writers and filmmakers are the closest competitors to human aesthetic life. In the present study, using a descriptive-analytical method by examining the theories of prospective researchers in the field of artificial intelligence as well as scenarios predicted by scientists and represented in three works, "West World," "Ex-Machina," and "Devs," the effects of machine self-awareness theories on the representation of the human-machine existential confrontation is determined. It is concluded that the encirclement of artificial intelligence in the production of films and TV series can provide them with stories and images and also affect the aesthetic sense and emotions of the audience. Although this influence was initially evident in science-fiction films and their audiences, today, it can also be seen in other cinematic genres.
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