Abstract
The advent of Artificial Intelligence (AI) has had a significant influence on diverse domains, including the discipline of film criticism. In recent times, advanced artificial intelligence models have demonstrated the capacity to scrutinize vast quantities of film-related data, encompassing evaluations, and appraisals, as well as audience attitudes and reception. Therefore, the utilization of AI in this regard can offer more advantages to both critics and audiences through the implementation of automated analysis, summarization, and recommendation systems, which provide valuable further insights into the world of movies and thus enhance a more global comprehension of films. In addition, critics can employ AI as a valuable instrument that reduces the processing time of current film criticism. However, the emergence of AI in the realm of film criticism has also prompted apprehensions regarding the possible deprivation of human intuition and creativity, the very subjective analysis, and the emotional involvement that is integral to a traditional critic’s expertise. The ongoing challenge today lies in balancing the benefits of AI-driven analysis and the irreplaceable human touch. The objective of this article is to investigate the correlation between AI and current American film criticism. Specifically, the article centers on how democratization and AI augmentation might impact the domain of conventional film criticism, leading to both a possible crisis in the field and an unprecedented advancement in the same area. It also presents and examines a new form of film analysis: automated criticism. To shed light on the topic, the present paper will engage with media and cultural studies focused, but not limited to, Lev Manovich’s theories on new media and artificial intelligence, Henry Jenkins’s concept of convergence culture, and Marshall McLuhan’s perspective on the influence of the medium on the message.
Published Version
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