Tags: film

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Wednesday, October 4th, 2017

This Future Looks Familiar: Watching Blade Runner in 2017 | Tor.com

If you subtract the flying cars and the jets of flame shooting out of the top of Los Angeles buildings, it’s not a far-off place. It’s fortunes earned off the backs of slaves, and deciding who gets to count as human. It’s impossible tests with impossible questions and impossible answers. It’s having empathy for the right things if you know what’s good for you. It’s death for those who seek freedom.

A thought-provoking first watch of Blade Runner …with an equally provocative interpretation in the comments:

The tragedy is not that they’re just like people and they’re being hunted down; that’s way too simplistic a reading. The tragedy is that they have been deliberately built to not be just like people, and they want to be and don’t know how.

That’s what really struck me about Kazuo Ishiguro’s Never Let Me Go: the tragedy is that these people can’t take action. “Run! Leave! Go!” you want to scream at them, but you might as well tell someone “Fly! Why don’t you just fly?”

Tuesday, October 3rd, 2017

Robtober 2017 | Rob Weychert

What an excellent example of a responsive calendar!

Monday, June 12th, 2017

2001: A Space Odyssey — A Look Behind the Future - YouTube

The following film describes an unusual motion picture now being produced in London for release all over the world, starting in early 1967.

Sunday, May 7th, 2017

A minority report on artificial intelligence

Want to feel old? Steven Spielberg’s Minority Report was released fifteen years ago.

It casts a long shadow. For a decade after the film’s release, it was referenced at least once at every conference relating to human-computer interaction. Unsurprisingly, most of the focus has been on the technology in the film. The hardware and interfaces in Minority Report came out of a think tank assembled in pre-production. It provided plenty of fodder for technologists to mock and praise in subsequent years: gestural interfaces, autonomous cars, miniature drones, airpods, ubiquitous advertising and surveillance.

At the time of the film’s release, a lot of the discussion centred on picking apart the plot. The discussions had the same tone of time-travel paradoxes, the kind thrown up by films like Looper and Interstellar. But Minority Report isn’t a film about time travel, it’s a film about prediction.

Or rather, the plot is about prediction. The film—like so many great works of cinema—is about seeing. It’s packed with images of eyes, visions, fragments, and reflections.

The theme of prediction was rarely referenced by technologists in the subsequent years. After all, that aspect of the story—as opposed to the gadgets, gizmos, and interfaces—was one rooted in a fantastical conceit; the idea of people with precognitive abilities.

But if you replace that human element with machines, the central conceit starts to look all too plausible. It’s suggested right there in the film:

It helps not to think of them as human.

To which the response is:

No, they’re so much more than that.

Suppose that Agatha, Arthur, and Dashiell weren’t people in a floatation tank, but banks of servers packed with neural nets: the kinds of machines that are already making predictions on trading stocks and shares, traffic flows, mortgage applications …and, yes, crime.

Precogs are pattern recognition filters, that’s all.

Rewatching Minority Report now, it holds up very well indeed. Apart from the misstep of the final ten minutes, it’s a fast-paced twisty noir thriller. For all the attention to detail in its world-building and technology, the idea that may yet prove to be most prescient is the concept of Precrime, introduced in the original Philip K. Dick short story, The Minority Report.

Minority Report works today as a commentary on Artificial Intelligence …which is ironic given that Spielberg directed a film one year earlier ostensibly about A.I.. In truth, that film has little to say about technology …but much to say about humanity.

Like Minority Report, A.I. was very loosely based on an existing short story: Super-Toys Last All Summer Long by Brian Aldiss. It’s a perfectly-crafted short story that is deeply, almost unbearably, sad.

When I had the great privilege of interviewing Brian Aldiss, I tried to convey how much the story affected me.

Jeremy: …the short story is so sad, there’s such an incredible sadness to it that…

Brian: Well it’s psychological, that’s why. But I didn’t think it works as a movie; sadly, I have to say.

At the time of its release, the general consensus was that A.I. was a mess. It’s true. The film is a mess, but I think that, like Minority Report, it’s worth revisiting.

Watching now, A.I. feels like a horror film to me. The horror comes not—as we first suspect—from the artificial intelligence. The horror comes from the humans. I don’t mean the cruelty of the flesh fairs. I’m talking about the cruelty of Monica, who activates David’s unconditional love only to reject it (watching now, both scenes—the activation and the rejection—are equally horrific). Then there’s the cruelty of the people of who created an artificial person capable of deep, never-ending love, without considering the implications.

There is no robot uprising in the film. The machines want only to fulfil their purpose. But by the end of the film, the human race is gone and the descendants of the machines remain. Based on the conduct of humanity that we’re shown, it’s hard to mourn our species’ extinction. For a film that was panned for being overly sentimental, it is a thoroughly bleak assessment of what makes us human.

The question of what makes us human underpins A.I., Minority Report, and the short stories that spawned them. With distance, it gets easier to brush aside the technological trappings and see the bigger questions beneath. As Al Robertson writes, it’s about leaving the future behind:

SF’s most enduring works don’t live on because they accurately predict tomorrow. In fact, technologically speaking they’re very often wrong about it. They stay readable because they think about what change does to people and how we cope with it.

Wednesday, May 3rd, 2017

The Lost Picture Show: Hollywood Archivists Can’t Outpace Obsolescence - IEEE Spectrum

There are three parts to digital preservation: format, medium, and licensing. Film and television archives are struggling with all three.

Format:

Codecs—the software used to compress and decompress digital video files—keep changing, as do the hardware and software for playback.

Medium:

As each new generation of LTO comes to market, an older generation of LTO becomes obsolete. LTO manufacturers guarantee at most two generations of backward compatibility. What that means for film archivists with perhaps tens of thousands of LTO tapes on hand is that every few years they must invest millions of dollars in the latest format of tapes and drives and then migrate all the data on their older tapes—or risk losing access to the information altogether.

Licensing:

Studios didn’t see any revenue potential in their past work. They made money by selling movie tickets; absent the kind of follow-on markets that exist today, long-term archiving didn’t make sense economically.

It adds up to a potential cultural disaster:

If technology companies don’t come through with a long-term solution, it’s possible that humanity could lose a generation’s worth of filmmaking, or more.

Tuesday, May 2nd, 2017

leaving the future behind – Al Robertson

Science fiction isn’t about technology, it’s about people …and how people change in response to technology.

So ironically, perhaps the only way that any piece of science fiction can be sure that it will remain resonant as the years pass is to make sure that any technical speculation can drop away once it’s no longer relevant. The science will fall back to Earth like an exhausted booster section, tumbling away from the rocket that will one day reach the stars. And then we’ll be left with stories about how people change when change arrives – and that, for me, is what science fiction is.

Friday, March 24th, 2017

Movies with Mikey

I know it’s just a landing page for YouTube channel of movie reviews but I really like the art direction and responsiveness of this.

Sunday, March 5th, 2017

The Not Quiz – Test your celebrity, music and film knowledge

This is really good fun! And thanks to service workers, it works offline too.

The rounds are:

  • Dead or Not Dead,
  • Number 1 or Not Number 1, and
  • Oscar or Not Oscar.

Monday, January 16th, 2017

Bring on the Flood · thewalrus.ca

Most of these dystopian scenarios are, after all, post-apocalyptic: the bad thing happened, the tension broke, and now so much less is at stake. The anxiety and ambivalence we feel toward late-stage capitalism, income inequality, political corruption, and environmental degradation—acute psychological pandemics in the here and now—are utterly dissolved. In a strange, wicked way, the aftermath feels fine.

Sunday, January 15th, 2017

How E.T. Really Called Home (PDF)

A 1983 article from 73 Magazine on the surprisingly plausible Rube Goldberg/Heath Robinson device created by E.T. to call home.

Friday, January 6th, 2017

From Tape Drives to Memory Orbs, the Data Formats of Star Wars Suck (Spoilers) | Motherboard

As always with sci-fi interfaces, the important part is telling the story, not realism or accuracy. Personally, I liked the way that the World War II trappings of Rogue One extended to communications and networking technologies.

Wednesday, December 28th, 2016

Is Children of Men 2016’s Most Relevant Film? — Vulture

Ten years on from Afonso Cuarón’s masterpiece.

Friday, December 23rd, 2016

BLIND : Rogue One

The on-screen interfaces for Rogue One have just the right retro feel next to those for The Force Awakens.

What Comes Next Is the Future (2016) on Vimeo

Matt Griffin’s thoughtful documentary is now available for free on Vimeo. It’s a lovely look at the past, present, and future of the web, marred only by the brief appearance of yours truly.

Wednesday, December 21st, 2016

Brendan Dawes - Now Boarding

I love this project by Brendan—a kind of retroactive design fiction featuring boarding passes from airline travel referenced (but never seen) in films like Die Hard, The French Connection, and Pulp Fiction.

Visualizing the Alien: A Hollywood Conundrum

Compare and contrast Alien, Starship Troopers, and The Thing with 2001 and Roadside Picnic (and I would throw Solaris into the mix).

Plugging in a monster moves a plot right along, of course, but if that’s all it’s doing, the plot is neglecting to examine how a real biosphere would work. That would be a sensationally complex task, but given the amount of research now going on in astrobiology and exoplanetary science, the suspicion here is that experts could be summoned who could produce such a film. Even so, there is something to be said for not seeing aliens.

Saturday, October 8th, 2016

The last day of hot metal press before computers come in at The New York Times | Aeon Videos

The 1978 short film Farewell, etaoin shrdlu documents the changeover from linotype to digital typesetting at The New York Times.

An evenhanded treatment of the unremitting march of technological progress, Weiss’s film about an outmoded craft is stylistically vintage yet also immediate in its investigation of modernity.

Tuesday, July 12th, 2016

Moonscape – The Apollo 11 Moonwalk in HD

Moonscape is a free and freely shareable high-definition documentary about the first manned Moon landing. Funded and produced by space enthusiasts from all over the world, it shows the full Apollo 11 landing and moonwalk, using only the original audio, TV and film footage and the original photographs, rescanned and restored from the best available sources, with full English subtitles (other languages will follow).

Wednesday, June 22nd, 2016

Blade Runner | Typeset In The Future

I’ve seen letterforms you people wouldn’t believe…

Thursday, May 19th, 2016

Everything is a Remix: The Force Awakens on Vimeo

The newest Kirby Ferguson video looks at remixing through the lens of the newest Star Wars film.