Reconfiguring Film Experience in the AI Age

Over the last century, the filmic experience has witnessed numerous turning points that have shaped the nature of authorship. Classicism, for example, has been revisited by modernism to replace linearity, heroism, conflict, and other conventional characteristics with fragmentation, non-active characters, and mundane events. Modernism itself has been deconstructed by postmodernism to blur the boundaries between high and low culture. Post-cinema, in turn, has gone beyond this to democratize the filmic experience, benefiting from new technologies that replace celluloid nitrate-based film with digital devices. Be that as it may, all these revisitations_ trying to redefine authorship_ have revolved around the human-centered experience. However, the current mood of Artificial Intelligence has recently seized control of the human-centered filmic experience, declaring the end of humanism within the context of the film experience. This article examines, from a practical perspective, this significant shift relating to authorship. It adopts a qualitative approach since it engages with filmic aesthetics in relation to authorship. Content analysis is the method used to understand the nature of this change. For stylistic analysis, it helps the researcher address the notion of authorship within the aesthetic context. The findings aim to determine whether human authorship should be declared dead or whether this new configuration reveals a mutual space between human authorship and the new film experience based on emerging technologies.