Representing the New AI in Film and Television

Cover
Contents
Acknowledgements
1 What kind of story are we in? Or, why do theoretical physicists need to go to the movies more often?
	A coda to the introduction: Intelligence, consciousness and monsters
2 A new take on romance
	The gravity of form
	Ex Machina (2014)
	The uncanny and the sublime
	Her (2013)
	Zoe (2018)
	I’m Your Man (2021)
3 Bridges, walls and laws
	Asimov’s three laws and beyond
	Beyond control: The limits of regulation
	I, Robot (2004)
	Automata (2014)
	Blade Runner 2049 (2017)
4 Other than us: Towards personhood
	Humans (2015–18)
	Better Than Us (2018–19)
5 The Singularity 1: Representing the Singularity
	Anticipating the future
	Transcendence (2014)
	Tau (2018)
6 The Singularity 2: Westworld and the quest for personhood
	‘Some kind of change’: Revolution and robotics
	The bicameral mind
	‘I imagined a story where I didn’t have to be the damsel’ (‘Contrapasso’): Dolores’s story
	‘Now boys, we’re going to have some fun’ (‘The Adversary’): Maeve’s story
	Under the law of Rehoboam
	Catachresis and character
7 Sites of conflict: Sex, family, war
	Sex and the modern cyborg
	AI, sex and weaponization
	The family unit 2.0
	The Machine (2013)
	Morgan (2016)
	The blended family: Chappie (2015)
8 Artificial Intelligence and environmental collapse
	The future as we know it
	A.I. Artificial Intelligence (2001): Dead zones and drowned cities
	I Am Mother (2019)
	The infinite city in Ghost in the Shell
	Ghost in the Shell: From manga to movie
	The Major and the future
Conclusion: An open society
References
Index