AI Mnemonics:Towards a Generative AI Film Ontology for a Complete Cinematic Myth
In the current era of rapid advancement in Artificial Intelligence Generated Content(AIGC)technology,the study of generative Al films urgently needs to revisit Bazin's ontological question of"What is cinema?"This requires overcoming three major research obstacles:the paradox of auteur theory,the issues of artistic authenticity,and the misconception of anthropomorphism,in order to seek and establish the self-identity of AI craftsmanship.From the perspective of the history of film media technology,film art has undergone a transition from"celluloid film→digital film→ AI film",marked by changes in media hybridity and aesthetic characteristics.According to the view-points of"kino-eye"(Vertov)and"kino-brush"(Manovich),the imaging mechanism of genera-tive AI films is determined by the self-delusion and generation of the AI"kino-brain,"but its inten-tional goal is not the reality in the sense of Bazin,but the"perfect film"as an asymptote of human memory.Therefore,generative AI films aim to imitate the cinematic experiences stored in human memory rather than creating new film languages or aesthetic styles,possessing a"memory reduction-ism aesthetic style".Based on Bergson's famous cone model of memory theory,the memory reduc-tionism aesthetic crystalline image ontology characteristics of generative AI films lead to the pre-con-scious cycle of the intelligent agent fantasist and the cultural hegemony issue of deep fake aesthetics.Although the AI"kino-brain"successfully achieves a memory reductionism aesthetic,it essentially resembles a paramecium-like unicellular organism that reacts immediately to external stimuli(in-puts),thereby forgetting reality.
AIGCfilm aestheticsgenerative AI filmcultural craftsmanshipphilosophy of technologymedia criticism
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