Голос операционной системы в фильме Спайка Джонза «Она» как гиперреальный объект любви

Abstract

The article raises the topic of “new sensuality” (“new sensualism”) as a phenomenon that revived the sentimentalism of the 1960s movie drama in the computer age and was embodied in a number of films of the last decade. In such films as Blade Runner 2049 (dir. Denis Villeneuve, 2017), Ex machina (dir. Alex Garland, 2015), I’m Here (dir. Spike Jonze, 2010) robots, replicant androids, and even laser projections act as men and women; and in the Spike Jonze film Her (2013), the main character, although a real man named Theodore, falls in love with the voice of the operating system Samantha, an affair with which becomes more real and valuable for him than anything he has previously experienced in relationships with real women. The plot of the film provides the basis for further practical and theoretical development of the film image of “akousmêtre”, a voice without a body. Digital technologies embodied in the film provide an opportunity to apply and rethink the concept of corporeality, which is relevant in phenomenological aesthetics, as well as to develop the meaning of synesthetic perception in the modern art space. At a new level of correlation between reality and virtuality, the ideas of dialogism that developed within the framework of philosophical anthropology in the twentieth century can be applied in the analysis of the film. Thus, the material of the presented films allows us to expand the art history discourse and raise a number of issues that are relevant not only for the screen arts of the 21st century, but also for people living in the world of digital technologies, but who have not lost the need for genuine human feelings.