Her spike jonze5/7/2023 Though this article will comment on other Romantic texts in this essay, Epipsychidion will be it’s primary focus in considering whether the technology in Her enables a consummation of Romantic yearning. In his reverie Shelley imagines a union between himself and Teresa (renamed “Emily” in the poem), facilitated by Mary. The poem does not describe a conventional love triangle, however. Nearly two centuries earlier Percy Shelley pursued the ideal of unmediated intimacy in his visionary, erotic poem Epipsychidion through the two feminine lights in his life, thinly veiled as Mary Shelley, and Teresa Viviani, a young woman confined to a convent. In a relationship between a human and an operating system, the medium is the object of desire, which, paradoxically, creates the tantalizing possibility of unmediated intimacy. The genius behind the high-tech companion is not simply its compatibility with its user. The possibility of securing such an ideal is presented in the film when the main character meets the girl of his dreams-a computer operating system. The breathless pursuit of an unattainable ideal, a trademark of English Romantic poetry, resurfaces in the 2013 film Her, written and directed by Spike Jonze. The intention is to describe and understand the remarkable consistency of this ‘script of perception’ in films that have been written and directed by contemporary Euro-American auteurs, while arguing for the ongoing validity of Laura Mulvey’s concept of ‘visual pleasure’ in spite of the apparently highly progressive medial re-encodings in a digital environment. In titles such as S1m0ne, The Congress, Her, Clouds of Sils Maria or Ex Machina, the transmediation of the digital through melodramatic, closed-space encounters of male/masculine authentic characters looking for actual escape or spiritual redemption by artificial digital females is examined in a feminist film, and media theoretical framework (Mulvey, Grodal, Elleström, Kittler, Johnston). So I think, you know, where we're at right now has a particular set of challenges, but what I'm talking about has probably existed as long as we've existed.The article engages with a recurrent audiovisual-narrative pattern: the frequent association of female characters to instances when the Internet, mobile digital devices or formations of artificial intelligence (robots or software) are involved in the diegesis. And that sort of tension has always been there. But also it's writing about something that I think has maybe always been here, which is our yearning to connect, our need for intimacy, and the things inside us that prevent us from connecting. touches on all of the themes that you're talking about in terms of the way we live in our modern life right now. I think there's not a simple answer to it, and the movie tries to - you know, the movie is my attempt at asking those questions. On what the film says about our relationship to technology It is that kind of movie where you have to be moved and affected and fall in love with both characters for it to work as a love story. And I think that's when Scarlett was like, "Oh OK, this is, this is going to be hard," and that it is a two-hander. I think she thought it was going to be, "Oh OK, yeah I'd love to this, it'd be fun to come do a voice-over." And I think as we started talking about it, one of the things I explained to her was that this character is new to the world, and hasn't yet learned her fears and insecurities. On Scarlett Johansson's work voicing Samantha Jonze (above), says the film asks questions about love and relationships and technology rather than proposing answers to them. And I think you're editing half of your reaction out." "When you're asking these questions that are more intellectual. "This movie is, to me, so emotional," Jonze says. And he pushed back at one of Cornish's questions about the movie's larger themes. He spoke with NPR's Audie Cornish about the unique challenges of creating a film where one of the two main characters is just a voice, as well as about the wide range of reactions people have had to the story. But despite the high concept, Jonze insists his movie is really just an old-fashioned love story. Like Jonze's earlier films Being John Malkovich and Adaptation, Her is odd and ambitious. In fact Samantha has no face, not even an avatar. The two lovers - Theodore (Joaquin Phoenix) and Samantha (voiced by Scarlett Johansson) - never meet face to face. Writer-director Spike Jonze's latest movie, called simply Her, is about a lonely man who falls in love. Joaquin Phoenix plays a man in love with an operating system in director Spike Jonze's latest film, Her.
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