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1981
Volume 15, Issue 2
  • ISSN: 2042-1869
  • E-ISSN: 2042-1877

Abstract

The article seeks to create a new understanding of Steven Spielberg’s (2001) by examining how the film elicits sympathy from its viewer toward David (Haley Joel Osment), an android designed to look and act like a human child. Metz and Baudry’s concept of identification is introduced to explain the phenomenon, and a formal analysis is conducted to support it. Furthermore, Jean-Paul Sartre’s existentialist views are used to draw a distinction between humans and artificial intelligence, encouraging caution toward media that blurs that line.

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/content/journals/10.1386/fm_00344_1
2024-11-30
2025-03-17
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References

  1. Baudry, Jean-Louis, and Alan, Williams. “Ideological Effects of the Basic Cinematographic Apparatus.Film Quarterly, vol. 28, no. 2, 1974, pp. 3947. JSTOR, https://doi.org/10.2307/1211632. Accessed 8 Apr. 2024.
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  2. Mei, Qiaozhu, et al.A Turing Test of Whether AI Chatbots Are Behaviorally Similar to Humans.Proceedings of the National Academy of Sciences, vol. 121, no. 9, 2024, https://doi.org/10.1073/pnas.2313925121.
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  3. Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema, Bloomington, Indiana University Press, 2000.
    [Google Scholar]
  4. Sartre, Jean-Paul.Existentialism Is a Humanism.Marxists Internet Archive, Feb. 2005, https://www.marxists.org/reference/archive/sartre/works/exist/sartre.htm. Accessed 22 July 2024.
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