In his reverie Shelley imagines a union between himself and Teresa (renamed “Emily” in the poem), facilitated by Mary. The poem does not describe a conventional love triangle, however. Nearly two centuries earlier Percy Shelley pursued the ideal of unmediated intimacy in his visionary, erotic poem Epipsychidion through the two feminine lights in his life, thinly veiled as Mary Shelley, and Teresa Viviani, a young woman confined to a convent. In a relationship between a human and an operating system, the medium is the object of desire, which, paradoxically, creates the tantalizing possibility of unmediated intimacy. The genius behind the high-tech companion is not simply its compatibility with its user. The possibility of securing such an ideal is presented in the film when the main character meets the girl of his dreams-a computer operating system. The breathless pursuit of an unattainable ideal, a trademark of English Romantic poetry, resurfaces in the 2013 film Her, written and directed by Spike Jonze. The intention is to describe and understand the remarkable consistency of this ‘script of perception’ in films that have been written and directed by contemporary Euro-American auteurs, while arguing for the ongoing validity of Laura Mulvey’s concept of ‘visual pleasure’ in spite of the apparently highly progressive medial re-encodings in a digital environment. In titles such as S1m0ne, The Congress, Her, Clouds of Sils Maria or Ex Machina, the transmediation of the digital through melodramatic, closed-space encounters of male/masculine authentic characters looking for actual escape or spiritual redemption by artificial digital females is examined in a feminist film, and media theoretical framework (Mulvey, Grodal, Elleström, Kittler, Johnston). And when Charles walk in with an outfit that’s so obviously not our world, he looks nerdy and you can laugh, like “OK, I can accept the world that’s been created.The article engages with a recurrent audiovisual-narrative pattern: the frequent association of female characters to instances when the Internet, mobile digital devices or formations of artificial intelligence (robots or software) are involved in the diegesis. And I think what it’s about is that early on the in film you’re trying to grasp and ingest new information. I had to watch it with an audience a few more times to place the laugh. The first time I watched it with an audience I felt like I screwed up so badly. When Charles walks in with his high-waisted pants it gets a laugh at every screening. I really didn’t intend for it to be such a topic of discussion. How did you come up with it? And are you tired of talking about it?ĬS : I’m so sick of the high-waisted pants. MN: OK, so I gotta get to the elephant in the room-the high-waisted pants. There’s a lot of that in the movie: I mean, the main character is named Theodore, which gives you a feel of an early America. And that makes it a really interesting time to draw from for the future. It’s almost like, because it’s coming out of the Depression but before the war, that no one understands it. In all my years of costuming, no one ever says, “We want to have a 1930s feel.” People will say the ‘20s, or the ‘40s, or ‘50s or ‘60s or ‘70s or ‘80s. So that’s what we tried to create.ĬS: The 1930s-I don’t know why this happened-but it’s a lost decade as a reference point. If you had all the things in the world, what would you gravitate to? For a lot of people it would be something warm and comfortable. You can choose from everything in the world, so clothes become more individual. We thought what really made more sense, what could very likely be happening, is access. Or I guess that’s the thought progression. And the way you depict coldness is you use clothes and colors that suggest coldness-blacks and silvers and whites and blues. And when there’s distance you lose warmth and end up with coldness. #Her spike jonze movie#MN: Because so many of those movies do just that-the clothes and the whole movie has this sheen to it, black-and-silver uniforms, latex, lots of boots-almost as though there’s some unofficial rule in a costume-designer handbook that mandates that.ĬS: I think with a lot of other movies the logic is that with technology taking over our lives that it creates distance. We wanted to use updated elements of things we know rather than project things we didn’t. #Her spike jonze how to#Casey Storm: When we first started talking about how to depict the future we immediately disliked anything you usually see in movies about the future.
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