De 29/07 a 04/08 participarei do XVIII Congresso da Associação Internacional de Literatura Comparada (AILC/ICLA), na UFRJ.
Criei uma página especial no blog para “transmitir” o evento e pretendo também postar por aqui alguns comentários mais longos sobre trabalhos e palestras que mais me interessarem.
Minha apresentação ocorrerá numa mesa na quinta-feira, 02/08, das 15:30 às 17:00, sala C8. Segue um resumo da minha apresentação.
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Abstract
Zen-Pinocchio: the dialetics human/inhuman through movies
This paper studies the dialectics human/inhuman, and a new post-modern subjectivity, comparing the story of Pinocchio with some movies.
When the frontiers between humans and inhumnas are challenged, we use the story of Pinocchio to keep the separation between animated toys and biological life. The movie Artificial Intelligence is a modern remake of the story of Pinocchio.
Both David, the robot-boy of Artificial Intelligence, and Andrew, the main character of The Biccentenary Man, do not want to remain robots, as they miss the characteristics that would make them humans, and so uniques. They call for the humanization of the machine. David breaksdown when he realizes that he is not ‘one of a kind’, but ‘the first of a kind’, and then swims in a scene that quotes the Disney animation Pinocchio. What are the frontiers between being a robot and being a human? Pinocchio 3.000 is the ultimate animation to reflect over these frontiers, with a future robot-Pinocchio that wants to become human.
Photography and movies problematized the sense of an aura for paintings, that is to say, its presence in space and time, its existence as unique and singular objects. Talking about authenticity became non-sense with photography and movies. With the development of AI and genetics, we might be watching the end of the importance of the originality and individuality of human beings, the dehumanization of the human. We lost control over our creatures, so the story of Frankenstein became reality.
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