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Lecture Library

Cyborg test lecture
by Anna Helme

Okay, I admit this seems to be working right now. I will try adding dozens more clips and see what happens.

This lecture is about cyborgs and technology.

Cyborg phone modem database access by Jonathan Mostow (2003) A cyborg from the future makes phone modem sounds to access online databases from her car
Cylon self-realization in Caprica by Remi Aubuchon and Ronald D. Moore (2009) A Cylon centurion prototype achieves self-awareness as a teenage girl
The Fifth Element and the Cyborg by Luc Besson (1997) The mechanical reconstruction of a "perfect" human based on cyborg DNA gives life to a naked, orgasmic Milla Jovovich
Tomorrow Never Dies titles and cyborg chic by Daniel Kleinman (1997) Sexy cyborg Bond girls, geek chic and digital morph effects adorn the title sequence of Tomorrow Never Dies
Fembot showdown in Ex Machina by Alex Garland (2015) Intimacy between androids shows the irrelevance of humans in this climactic showdown
Dr Goldfoot demonstrates the programming function of his Bikini Machine by Norman Taurog (1965) Tape drives from a Burroughs B205 are used to program beautiful but deadly female companion robots
Cyborg showdown by Jonathan Mostow (2003) The original Terminator has a final showdown with an upgraded model from the future, where fembots wear red leather pant suits
A fembot reveals her true self by peeling off sections of skin in Ex Machina by Alex Garland (2015) The fluidity between organic and mechanical femininity is highlighted through a striptease of the skin
Creating a Fembot on Eve of Destruction by Duncan Gibbins (1991) A fictional history of government experiments in robotics results in the creation of a beautiful but deadly fembot
Bionic Woman opening by Kenneth Johnson (1976-78) Title sequence from TV's Bionic Woman
Demolition Man and Cybersex by Marco Brambilla (1993) Contrasting the ideals of virtual and real sex in the cinematic imaginary
Videogames as geek seduction in Hackers by Iain Softley (1995) Videogames and gender competition are coextensive with 1990s teenage technology hacking
Gender discrimination in computer school from Supergirl by Jeannot Szwarc (1984) A pompous belittling computer teacher has his job finished for him when girls internalize gender stereotypes
Desk Set EMERAC arrives by Walter Lang (1957) The EMERAC computer arrives on the scene of Desk Set, prompting anxieties about imminent layoffs among the research staff.
S1mone creation scene by Andrew Niccol (2002) Another instance of designing the perfect woman on computer
The Lawnmower Man and Cybersex by Brett Leonard (1992) Virtual sex turns into a rape in cyberspace
Video game play as generational and gender conflict in Night of the Comet by Thom Eberhardt (1984) A teenage girl uses her prowess at the arcade game Tempest as a vehicle to independence
Proposal to create the perfect virtual human in AI by Steven Spielberg (2001) A proposal to create the perfect virtual human
S1mone avatar creation and performance by Andrew Niccol (2002) Al Pacino generates a "natural woman" avatar for holographic performance
Disclosure VR scene by Barry Levinson (1994) Michael Douglas enters a virtual world of web pages and 2D avatars of Demi Moore
VR cybersex on Sliders by Tracy Tormé and Robert K. Weiss (1998) Cybersex in virtual reality raises issues of propriety and consent
Caprica teenage tour of VR club by Remi Aubuchon and Ronald D. Moore (2009) A teenager gives a matter of fact tour of illicit VR sex and violence clubs to the technology's creator
VR cybersex on Mad About You by Paul Reiser and Danny Jacobson (1994) Stereotypes of VR in the popular imaginary of the 1990s
VR therapy monitors cyberfantasies via TV in Sliders by Tracy Tormé and Robert K. Weiss (1998) VR therapy conjures pleasurable fantasies to assist with trauma recovery
VR as both dream and nightmare on Sliders by Tracy Tormé and Robert K. Weiss (1998) VR can be used both to make workers happy and docile and to incite unrest
Brainstorm, Memory, and Cinematic VR by Douglas Trumbull (1983) The technologies of VR and biofeedback offer a dangerous extension of human memory
VR fantasy sequence in Die Another Day by Lee Tamahori (2002) Moneypenny finally has the opportunity to seduce James virtual reality
Hologram Man VR antiterror simulation by Richard Pepin (1995) A VR headmounted display is used for anti-terrorist training in Hologram Man
Strange Days VR demo by Kathryn Bigelow (1995) A "virgin brain" experiences the ultimate in VR: being an "18 year-old girl taking a shower"
Strange Days paraplegic VJ by Kathryn Bigelow (1995) The potential uses of VR for disabled people is a common trope in VR films
Wild Palms VR living room demo by Bruce Wagner (1993) A living room demo of commercial VR featuring collision detection delivered via television
Virtual reality as hypnotherapy in Future Shock by Eric Parkinson (1994) An apparatus free vision of VR used for hypnotherapy
A VR avatar explains how metadata constitutes being by Remi Aubuchon and Ronald D. Moore (2009) A VR avatar explains how being is constituted through metadata held in databases
Brainstorm, Memory, and Cinematic VR by Douglas Trumbull (1983) The technologies of VR and biofeedback offer a dangerous extension of human memory
VR sex club via holoband by Remi Aubuchon and Ronald D. Moore (2009) A teenage VR hacker encounters her virtual double who conveniently resides in the backroom of a sex club
Virtuosity cybersex and VR to RL by Brett Leonard (1995) The elusive promise of cybersex in VR allows a super-criminal to be brought into the real world in Virtuosity
Gestural interface in Iron Man 2 by Jon Favreau (2010) Gestural interfaces provide the key to design and ambient gaming in Iron Man 2
30 Rock TV voice interface by Tina Fey (2011) The pitfalls of voice activated TV interfaces are parodied in this episode of 30 Rock.
Code 46 interface montage by Michael Winterbottom (2003) A montage of clips from Michael Winterbottom's Code 46 illustrating a sci-fi future of touch-based, gestural and biometric interfaces.
Gestural and holographic interface in The Avengers by Joss Whedon (2012) The Iron Man lab sequences in The Avengers offer a futuristic vision of seamless, responsive interfaces that are gestural, holographic and tangible as needed
The "mental mouse" obviates computer interfaces in Eureka by Andrew Cosby and Jaime Paglia (2006) Eureka S02E01 presents a neural interface device called the "mental mouse" that provides a direct link between brain and computer
V Gestural Interface by Kenneth Johnson (2010) In the future displays will be holographic and interfaces will be gestural
Time Machine library database by Simon Wells (2002) In 2030, library databases will be controlled by ironic humanoid interfaces
Sleeper computer voice interface by Woody Allen (1973) A remediation of the HAL 9000 computer voice interface from 2001 in Sleeper
Design fictional holographic displays and gestural interfaces in Prometheus by Ridley Scott (2012) Humans, holograms and androids search for signs of alien life in a galaxy far away
Gestural, haptic and holographic interfaces are rolled into one in Cloud Atlas by Tom Tykwer and Wachowskis (2012) The archive of the future is fed by a series of tubes, delivering the true-true via a baroque combination of futuristic interfaces and hovering multiscreen displays
Futuristic interfaces and displays in This Island Earth by Joseph M. Newman (1955) A gestural interface and triangular display screen signify advanced alien technology
Gestural interface in The Day the Earth Stood Still by Robert Wise (1951) Gestural control marked the apotheosis of futuristic interfaces in 1951
Richard Pryor discovers he is a computer savant not a bum in Superman 3 by Richard Lester (1983) As a transitional film on the cusp of the PC era Superman 3 conflates the potentials of individual programming virtuosity with the institutional logic of the mainframe era
Biological metaphors are used to explain the functioning of a computer by Robert Butler (1969) A computer science professor explains how computers can be used to replace humans
Computerization anxieties on Mad Men by Matthew Weiner (2014) Installation of an IBM 360 computer system in an advertising agency prompts both hopes for the future and pathological fears of dehumanization
Punch card chaos in Snowball Express by Norman Tokar (1972) A mainframe computer goes out of control at the push of a few buttons
The Man from U.N.C.L.E. title sequence with ambient supercomputer by Norman Felton, Sam Rolfe (1967) The title sequence for The Man from U.N.C.L.E. features an IBM AN/FSQ7 mainframe computer in the background
Route 66 computer science lecture by Stirling Silliphant (1961) A 1961 episode of the television road series Route 66 prominently features an IBM 709 mainframe computer accompanied by a typically exclusionist lecture by a computer scientist
A female gendered artificial intelligence supercomputer can be a charming but exasperating companion by Peter Hyams (2005) In A Sound of Thunder a supercomputer named TAMI (Time Alteration Mainframe Interface) spars verbally with her operator
Computational kitsch in mainframe era movie title sequences by Steve Anderson (2013) Binary aesthetics and hardware fetishization characterize the title design sequences of numerous computer films of the 1960s and 70s
Mannix vs. Technology by Richard Levinson and William Link (1967) Technocratic corporate surveillance is contrasted with the rugged individualism of the private detective
Videophone technologies in Austin Powers by Jay Roach (1997) Three generations of videophone technology are seen in this montage from Austin Powers
Knight Rider in Silicon Valley by Glen A. Larson (1982-86) Hollywood was already demonizing the technology industries of Silicon Valley for corruption and excess in 1982
Dollhouse memory erasure by Joss Whedon (2009) Technology allows memories to be erased and new ones implanted in Dollhouse
Surrogates Title sequence by Jonathan Mostow (2009) The opening of Surrogates maps a familiar utopian/dystopian binary onto the new technology of telepathically controlled physical avatars
Prototypical, gamer hacker on Simon & Simon by Philip DeGuere (1981) An early televisual association between online fantasy games and computer hacking
Critique of video game violence in Toys by Barry Levinson (1992) A toy company is secretly developing war games used to train children for real world violence
Computers vs. Video games on Knight Rider by Glen A. Larson (1983) KITT explains the difference between video games and computers to his human operator
Video game used for psychological profiling in Ender's Game by Gavin Hood (2013) A precocious cadet uses his insight into video game design and military logic to beat both systems
Videogames and social decay in The Survivors by Michael Ritchie (1983) A survivalist acknowledges that video games are the only aspect of culture to improve in the past decade
Generational conflict via computer and videogame in National Lampoon's Vacation by Harold Ramis (1983) An early PC-era scene merges home computing with video games to comedic effect
A computer genius uses a GameBoy to avert a meltdown in a nuclear plant by John Murlowski (2002) A handheld video game helps save the world from a homicidal supercomputer AI in Terminal Error
A debauched vision of gamers and game play from the movie Gamer by Mark Neveldine (2009) Obese shut-ins, sexual deviants and elderly occupy the game world of Society
Climactic videogame play sequence introduces Super Mario Bros. 3 in The Wizard by Todd Holland (1989) The Video Armageddon final showdown imagines video games as a spectator sport
Precredit PC game sequence from Big by Penny Marshall (1988) A boy who is soon to be transported into the body of a grown man unsuccessfully plays the fictional PC game Cavern of the Evil Wizard
Stereotypical video gamer dudes mix homophobia with profanity and violence by Doug Liman (1996) Videogame violence features prominently in this cinematic critique of games and gamers
A TV set hooked up to an Atari game console and beta tape deck provokes a hallucination in Videodrome by David Cronenberg (1983) As the videodrome signal becomes more real than reality, James Woods is literally swallowed by the TV set
Trivialization of videogames in Mallrats by Kevin Smith (1995) A teenage slacker prefers pontificating about video hockey to having sex with his girlfriend
Stereotypical gamer dude homophobia is intercut with attempted heterosexual romance in The 40 Year Old Virgin by Judd Apatow (2005) This extended sequence crystallizes many of the social tensions that surround depictions of video games on film
Precredit video game play opening of The Princess Bride by Rob Reiner (1987) A gratuitous video game sequence precedes the primary action of the film, which implicitly favors reading and cinematic storytelling over videogame play
Home video game arcade console as class signifier in Soylent Green by Richard Fleischer (1973) In the year 2022 a videogame "toy" amuses the youthful mistress of a wealthy aristocrat in a dystopian future plagued by overpopulation
Video games and domestic strife in The Breakup by Peyton Reed (2006) Male bonding over a home console videogame conflicts with sex and domestic harmony
Video game play merges with real life in Superman 3 by Richard Lester (1983) Atari produced these video game play animation sequences but never released a game based on the film
Games and generational conflict in Coak and Dagger by Richard Franklin (1984) A father and son conflict over the value of game play in the domestic sphere
Introduction to Automan by Glen A. Larson (1983) A computer expert creates the ultimate, holographic crime-fighting machine
Robot logic in Bicentennial Man by Chris Columbus (1999) A robot learns to avoid infinite conversation loops
The Final Cut neurocinematics by Omar Naim (2004) Brain images viewed as cinematic montage
Sleeper ethnic robots by Woody Allen (1973) Woody Allen interacts with Jewish robot tailors
World building physics by Christopher Nolan (2010) Playing with physics in a cognitively generated world
Videodrome TV induced hallucination by David Cronenberg (1983) TV induced hallucination of internalized violence
RoboCop Genesis by Paul Verhoeven (1987) This clip captures RoboCop's first moments of consciousness.
Ubiquitous surveillance in Eagle Eye by D.J. Caruso (2008) The ubiquity of airport surveillance makes escape impossible
Eagle Eye didactic denouement by D.J. Caruso (2008) Maybe the national security state has gone too far
Surrogates law enforcement by Jonathan Mostow (2009) Surveillance-based remote law enforcement in Surrogates
Wag the Dog future war by Barry Levinson (1997) A discussion of future war from Wag the Dog
Andromeda Strain voice interface by Robert Wise (1971) Voice synthesis interface in The Andromeda Strain
Parody of supercomputer in Team America: World Police by Trey Parker (2004) The technocinematic convention of an affected, acronymed supercomputer is parodied by the creators of South Park
Wonder Woman falsifies database records to hide her secret identity by William M. Marston (1977) A supercomputer and voice interface allow Wonder Woman to reinvent her history
The supercomputer ZERO provides selective access to all human knowledge in Rollerball by Norman Jewison (1975) A dystopian future without books depends on a liquid core supercomputer to remember history
A recalcitrant supercomputer defies its operator in Willy Wonka and the Chocolate Factory by Mel Stuart (1971) A recalcitrant Siemens System 4004 supercomputer refuses to participate in "the greatest miracle of the machine age"
Supercomputer kitsch in title design sequence of Billion Dollar Brain by Ken Russell (1967) Maurice Binder's dazzling celebration of supercomputer aesthetics and high-contrast graphics worthy of a James Bond movie
A supercomputer delivers the ultimate answer by Garth Jennings (2005) The ultimate answer to life, the universe and everything is calculated by a supercomputer to be 42
Supercomputer switch interface in The Towering Inferno by John Guillermin (1974) Responsibility for getting a skyscraper's fire, electrical and security systems back online is left to the Chief of Security (O.J. Simpson)
Burroughs supercomputer product placement montage from Angry Red Planet by Ib Melchior (1959) The Burroughs B205 is prominently displayed in the background of multiple dialogue scenes in Angry Red Planet
In the hands of a quack doctor, a supercomputer promises the cure for cancer on Hawaii 5-0 by Leonard Freeman (1969) An alternative medicine practitioner uses a supercomputer to diagnose and treat cases of terminal cancer, until she tangles with Steve McGarrett
A supercomputer calculates the time left before the end of the world in The Night the World Exploded by Fred F. Sears (1957) With global destruction imminent, humanity turns to technology to devise a strategy for survival
Demon Seed supercomputer as voyeur by Donald Cammell (1977) Another example of a domestic AI supercomputer displaying voyeuristic behavior
Supercomputer as voyeur in Colossus: The Forbin Project by Joseph Sargent (1970) In order to enjoy their privacy, humans in Colossus: The Forbin Project must take orders and undress while being watched by a supercomputer
Two supercomputers invent an "intersystem language" by Joseph Sargent (1970) One American and one Soviet supercomputer collaborate to develop an intersystem language that only they can understand
Supercomputer kitsch adorns the credit sequences of The Honeymoon Machine by Richard Thorpe (1961) Song lyrics explain the difference between humans and computers
Human supercomputer interface montage from I Dream of Jeannie by Sidney Sheldon (1966) An electric typewriter is used for input and ticker-tape style printouts provide responses from a NASA supercomputer (synch problem)
Supercomputer as cultural memory pool in Rollerball by Norman Jewison (1975) After all the books have been destroyed, a liquid core supercomputer named Zero is responsible for maintaining all of humanity's memories
Electronic Rapid Input Computer (ERIC) on I Dream of Jeannie by Sidney Sheldon (1966) NASA's ERIC supercomputer, the fastest computer in existence, can answer any question
Booting up the world's largest supercomputer by Joseph Sargent (1970) The iconography of the world's largest supercomputer is part data processing center, part nuclear reactor and part space ship
A computerized surveillance system is used by the Defense Department to spy on citizens in the Outer Limits by Gerd Oswald (1963) The computer OBIT (Outer Band Individuated Teletracer) uses radio waves to observe anyone within a 500 mile radius
Star Trek computerized warfare by Gene Roddenberry / Joseph Pevney (1967) The Enterprise encounters a planet that has been at war for 500 years through computer simulation
Rocky 4 computerized punch analysis by Sylvester Stallone (1985) The training of a Soviet boxer is associated with computer technology and performance-enhancing drugs in Rocky IV
Computer control room for android theme park in Westworld by Michael Crichton (1973) Technicians and computers work together to create the ultimate in adult entertainment
Computers threaten to replace humans in Star Trek "The Ultimate Computer" by Gene Roddenberry / John Meredyth Lucas (1968) Kirk agonizes over the prospect of losing his job to an advanced computer
The Moon landing marks the transition from TV to computers on Mad Men by Matthew Weiner (2014) The death of Bert Cooper signifies the end of an era in advertising and the beginning of the computer age
Humans ultimately triumph over computers in The Monkees by Bob Rafelson (1966) Computer logic is used to destroy a condescending human resources computer
Verbal sparring between McCoy and Spock over computers by Gene Roddenberry / John Meredyth Lucas (1968) The second season Star Trek episode "The Ultimate Computer" includes more agonizing than usual over the relationship between humans and computers
A universal decryption device allows access to all computer systems by Phil Alden Robinson (1992) Hackers with easy access to computer systems fuel anxieties about technology
Computerized diagnostics in The Andromeda Strain by Robert Wise (1971) A computer system assists with medical diagnostics
"Do you know what your brain is? A database and a processor." by Ronald D. Moore (2009) Daniel explains the process of capturing a person's metadata to Joseph Adama.
No more secrets in Sneakers by Phil Alden Robinson (1992) A reformed hacker has his identity revealed via an FBI database
Time Machine library database by Simon Wells (2002) In 2030, library databases will be controlled by ironic humanoid interfaces
The anxieties of database identity on Cybergeddon by Anthony E. Zuiker (2012) Ordinary citizens' "whole lives" may be taken away by evil hackers and cyber-terrorists "at the push of a button"
The database of horror from Cabin in the Woods by Drew Goddard (2011) The recombination of generic elements in Hollywood narratives is rarely exposed with such blunt self-awareness as in this climactic scene from Cabin in the Woods
Database identity and anonymity in Jack Reacher by Christopher McQuarrie (2012) In an age of domestic metadata surveillance dropping off the grid is nearly impossible
A car phone and database show the power of data surveillance in The Conversation by Francis Ford Coppola (1974) Mastery of informatics trumps speed in a muscle car showdown
National security surveillance databases foil a terrorist plan to attack Wall Street by Kenneth Branagh (2014) In Jack Ryan: Shadow Recruit data mining and intelligence analysis stops Russia from destroying the U.S. economy
Rockford Files on private information industry by Stephen J. Cannell (1978) Jim Rockford exposes computer data abuse by private companies
A database of home movies constitutes personal history in Contact by Robert Zemeckis (1997) Personal histories mapped across media documents and information systems has become a cinematic shorthand for identity
Multimedia database for research in Iron Man 2 by Jon Favreau (2010) Print and electronic media are combined by an artificial intelligence computer in Iron Man 2
Lost database identity S03E01 by J.J. Abrams (2006) Identity and surveillance depend on metadata rather than visibility
Dames dance sequence by Busby Berkeley (1934) Kaleidoscopic visual effects in Busby Berkeley dance sequence
Barbarella future sex by Roger Vadim (1968) Barbarella experiences hygienic future sex
Barbarella cybersex by Roger Vadim (1968) Barbarella experiences old fashioned caveman sex without pills
Barbarella receives orders via videophone by Roger Vadim (1968) Communication via videophone from a spaceship
Barbarella overloads the orgasmatron by Roger Vadim (1968) A torture device is unable to contain the female orgasm
Footlight Parade aquatic dance by Busby Berkeley (1933) The aquatic dance sequence from Footlight Parade