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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

The screen is the material and imaginative interface where biology meets technology. It is the nexus between science and fiction, where technological and ethical concerns surrounding synthespians, representations of replicants, and manifestations of synthetic biology come into play. This analysis of digital imaging and cinematic imagining of virtual actors and synthetic humans in films such as Blade Runner 2049 (Denis Villeneuve, 2017) examines the ethical implications of digital embodiment technologies and cybernetics. I argue that it is necessary to bring together science and the arts to advance understandings of embodiment and technology. In doing so, I explore commonalities between ethical concerns about technobiological bodies in cultural and scientific discourse and developments such as the creation of virtual humans and “deepfake” digital doubles in screen media.

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Charlie Michael

For those of us accustomed to thinking of French cinema as a low-budget, philosophical alternative to Hollywood, the past few years might have been a bit disorienting. Established auteurs (Jean-Luc Godard, Eric Rohmer, Agnès Varda) and challenging newcomers (Gaspard Noé, Catherine Breillat, Erick Zonca) continue to impress, but their idiosyncratic views are now complemented by an increasing number of what look a lot like, well, French “blockbusters.” These are popular genre films that feature special effects and glossy production values.

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Laura T. Di Summa-Knoop

. Color-grading, sound-editing, special effects, and other production tools are impressive even in amateur productions (as the number of series on platforms such as Vimeo and YouTube shows). In part, filmmakers have been able to reach such mastery thanks

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Jason Dean and Geoffrey Raynor

take advantage of this fact intuitively through numerous techniques, including the creative use of casting, costumes, music, scenery, and visual special effects. These techniques present the audiovisual perceptions of film in a specific way to amplify

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Margrethe Bruun Vaage and Gabriella Blasi

defining feature of narrative complexity. Operational aesthetic is a self-conscious mode of storytelling, and this reflexivity makes the viewer pay attention to the story’s formal features. As we watch, so-called narrative special effects will make us ask

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Curation as Public Scholarship

Museum Archaeology in a Seventeenth-Century Shipwreck Exhibit

Sarah A. Buchanan

video clips, 10 historical facts and trivia, 11 trailers for the museum’s 4-D special effects film Shipwrecked , 12 and updates from conservators as they synthesized their analysis and conversations with visitors. 13 The production of Shipwrecked

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“For Girls to Feel Safe”

Community Engineering for Sexual Assault Prevention

Day Greenberg and Angela Calabrese Barton

needs and style desires). They then presented their idea for a stylish anti-rape jacket, a jacket that appeared normal but concealed an integrated circuit to trigger a loud alarm, in a video they made as talking heads in front of a special effects

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Qihao Ji and Arthur A. Raney

Death of a President uses archival footage and special effects to depict a fantasized investigation into the assassination of former president George W. Bush. End of Watch tells the day-to-day story of two honest police officers in Los Angeles. Both

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

: Performance Capture” 2010). References Allison , Tanine . 2015 . “ Blackface, Happy Feet : The Politics of Race in Motion Capture and Animation .” In Special Effects: New Histories/Theories/Contexts , ed. Dan North , Bob Rehak , and Michael S

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Raili Nugin

://www.youtube.com/watch?v=Qng_reW-liI 2 Birds in the Garden in Winter Best educational film A nature film about birds https://www.youtube.com/watch?v=AhbhrjLl8yc 3 Nightmare Most catching film with special effects A story of a pupil’s dream in the classroom of a busy weekend https