New report unravels AI narratives in sci-fi cinema and TV

Students of the SWPS University’s Institute of Humanities in Warsaw, Poland, published their research on “Visions of AI in Popular Culture: Analysis of the Narratives about Artificial Intelligence in Science Fiction Films and Series”. The report delves into the central themes and recurring motifs through which technology becomes ingrained and socialised in cinematic fiction.

Where no wo/man has gone before

Wikimedia Europe, who commissioned the report, wanted to expand the repertoire of narrative devices that are commonly used in advocacy narratives and campaigns. One of the main issues we face when communicating about digital rights is the use of insular language or over-complicating the messaging to not miss “important nuance”.

Additionally, digital rights campaigns seem to adopt an apologetic approach, which assumes that to mobilise people the campaign messaging must center their higher feelings. In turn, many campaigns persuade people to “normalise old age”, or “be a hero and adopt a sick pet”.

These are the droids you’re looking for

The Wikimedia assignment was to examine attitudes and winning narratives pertaining to the key narrative tropes. So, the young researchers focused on the following tropes:

• conquest or progress
• good teamwork and machines
• the pursuit of happiness
• making a family
• new geographies
• good citizens
• political choice and rebellion
• technology as a source of comfort

These points are important to investigate because they also shape some of the most relevant aspects of life where digital rights are being addressed.

We’re not in the business. We are the business.

Pop culture operates on a buy-in principle, which is an invitation to be cool, and to partake in excitement. It is no coincidence that Star Trek and Star Wars debuted during the consolidation of the Cold War efforts resulting in both sides of the conflict escalating the arms race into space.

Even animations for children are studded with subtle references to modern technologies. For example, a story of friendship and belonging in difficult times features a snug robot to explain machine-assisted well-being on the side (Big Hero 6 from 2015 which coincidentally is a year of the mass-market release of Echo and Alexa).

The showcased tropes certainly are not the ones that would become a focus of a campaign on digital rights. However, there there are valuable lessons to be gleaned from the ‘pixarisation’ of soft propaganda in pursuit of positive emotions and, and, ultimately, encourage compliance. In order to do so, these and more examples need to be further analysed and understood.

The report provides inspiration for effectively communicating stories and shaping messages related to digital rights.

Contrbution by: EDRi member, Wikimedia Europe