Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Journal of Science & Popular Culture
  4. Volume 4, Issue 2
  5. Article
Volume 4, Issue 2
  • ISSN: 2059-9072
  • E-ISSN: 2059-9099

Abstract

We explore themes related to societal concerns about robotics and AI represented in the first season of the current HBO TV series and compare them to those expressed in a corpus of similar length comprising Michael Crichton’s original feature film from 1973, its sequel and the ensuing TV series . In the context of science communication, science in popular culture has most often been studied in terms of the influence it can exert on the audience’s understanding, awareness and engagement with science. Our analysis is framed in the approach of viewing films and TV as a ‘virtual witnessing technology’ and ‘social thought experiments’ through which they provide valuable information about perceptions, misconceptions, fears and expectations by the public on science and technology issues. Authors and filmmakers are considered representatives of society, giving a voice to those affected by developments in science and technology. Our analysis explores not only current perceptions and concerns on robotics and AI but also how that may have changed over this crucial period of their development.

© 2021 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/jspc_00030_1
2023-08-16
2025-04-22
Loading full text...

Full text loading...

References

  1. Albanese, C. L.. ( 1981;), ‘ Savage, sinner, and saved: Davy Crockett, camp meetings, and the wild frontier. ’, American Quarterly, 33:5, pp. 482–501, https://bibliotheek.ehb.be:2102/10.2307/2712799.
     [Google Scholar]
  2. Almost Human ( 2013, USA:: Bad Robot Productions);.
     [Google Scholar]
  3. Anders, G.. ( 1962;), ‘ Theses for the atomic age. ’, Massachusetts Review, 3:3, pp. 493–505.
     [Google Scholar]
  4. Audétat, M.. ( 2018;), ‘ Science’s fictions as counter promise: The case of autonomous weapons. ’, 7th STS Italia Conference, University of Padova, 14–16 June, http://www.stsitalia.org/wp-content/uploads/2018/06/AbstractFromBelow_STS-Italia-2018-Book-of-Abstract_Finalpdf.pdf. Accessed 21 March 2023.
     [Google Scholar]
  5. Aupers, S.. ( 2012;), ‘ “Trust no one”: Modernization, paranoia and conspiracy culture. ’, European Journal of Communication, 27:1, pp. 22–34, https://bibliotheek.ehb.be:2102/10.1177/0267323111433566.
     [Google Scholar]
  6. Barnett, M.,, Wagner, H.,, Gatling, A.,, Anderson, J.,, Houle, M., and Kafka, A.. ( 2006;), ‘ The impact of science fiction film on student understanding of science. ’, Journal of Science Education and Technology, 15:2, pp. 179–91, https://bibliotheek.ehb.be:2102/10.1007/s10956-006-9001-y.
     [Google Scholar]
  7. Battlestar Galactica ( 2004, USA:: NBC Universal Television Studio;).
     [Google Scholar]
  8. Baudrillard, J.. ( 1976), L’ échange symbolique et la mort, Paris:: Gallimard;.
     [Google Scholar]
  9. Bauman, Z.. ( 2002), Modernity and the Holocaust, Ithaca, NY:: Cornell University Press;.
     [Google Scholar]
  10. Beck, U.. ( 1992), Risk Society: Towards a New Modernity, London:: Sage;.
     [Google Scholar]
  11. Beck, U.. ( 2010;), ‘ Climate for change, or how to create a green modernity?. ’, Theory, Culture & Society, 27:2&3, pp. 254–66, https://bibliotheek.ehb.be:2102/10.1177/0263276409358729.
     [Google Scholar]
  12. Bekker, H. M.. ( 2018), Künstliche Menschen in der Serie Westworld (2016). Eine Kultur-anthropologische Untersuchung, Lengerich:: Cassiopeiapress/Alfredbooks;.
     [Google Scholar]
  13. Beyond Westworld ( 1980, USA:: Warner Bros. Television Distribution;).
     [Google Scholar]
  14. Black Mirror ( 2011, UK:: Zeppotron;).
     [Google Scholar]
  15. Blomkamp, N.. ( 2009), District 9, USA:: Sony Pictures;.
     [Google Scholar]
  16. Blomkamp, N.. ( 2015), Chappie, USA:: Columbia Pictures;.
     [Google Scholar]
  17. Blumenberg, H.. ( 2014), Storia dello spirito della tecnica, (eds A. Schmitz, and B. Stiegler,, trans R. Scolari, and B. Simona.) Milan:: Mimesis;.
     [Google Scholar]
  18. Breton, P.. ( 1996;), ‘ L’utopie de la communication entre l’idéal de la fusion et la recherche de la transparence. ’, Quaderni, 28, pp. 125–33.
     [Google Scholar]
  19. Breton, P.. ( 2004), L’utopie de la communication: le mythe du ‘village planétaire, Paris:: La Découverte;.
     [Google Scholar]
  20. Brier, S.. ( 2006;), ‘ Ficta: Remixing generalized symbolic media in the new scientific novel. ’, Public Understanding of Science, 15:2, pp. 153–74, https://bibliotheek.ehb.be:2102/10.1177/0963662506059441.
     [Google Scholar]
  21. Bruckner, P.. ( 2011), Le fanatisme de l’apocalypse: sauver la terre, punir l’homme, Paris:: B. Grasset;.
     [Google Scholar]
  22. Cameron, J.. ( 1984), The Terminator, USA:: Orion Pictures;.
     [Google Scholar]
  23. Cameron, J.. ( 1991), Terminator 2: Judgment Day, USA:: TriStar Pictures;.
     [Google Scholar]
  24. Cameron, J.. ( 2009), Avatar, USA:: 20th Century Studios;.
     [Google Scholar]
  25. Camorrino, A.. ( 2018a;), ‘ Green spirituality and physical culture. Extreme sports and the imagery of wilderness. ’, Societies, 8:4, https://bibliotheek.ehb.be:2102/10.3390/soc8040096.
     [Google Scholar]
  26. Camorrino, A.. ( 2018b;), ‘ La notte dell’umanesimo. L’immagine dell’uomo nella società contemporanea. ’, Im@go: Journal of the Social Imaginary, 12:7, pp. 39–62.
     [Google Scholar]
  27. Camorrino, A.. ( 2020;), ‘ Ecospiritualità. Il “reincanto” della natura nella società contemporanea. ’, Religioni e Società. Rivista di Scienze Sociali della Religione, 96:1, pp. 86–95.
     [Google Scholar]
  28. Carroll, J.. ( 1993), Humanism: The Wreck of Western Culture, London:: Fontana Press;.
     [Google Scholar]
  29. Cavanaugh, T. W., and Cavanaugh, C.. ( 1996), Learning Science with Science Fiction Films, Dubuque, IA:: Kendall/Hunt Publishing Company;.
     [Google Scholar]
  30. Compagna, D.. ( 2016;), ‘ “At least there is something human in you”: The provocation of social robots for modern societies. ’, 15th Annual STS Conference, Graz, Austria, 9–10 May.
     [Google Scholar]
  31. Crichton, M.. ( 1973), Westworld, USA:: Metro-Goldwyn-Mayer;.
     [Google Scholar]
  32. Crichton, M.. ( 1984), Runaway, USA:: TriStar Pictures;.
     [Google Scholar]
  33. Davies, S. R.,, Halpern, M.,, Horst, M.,, Kirby, D., and Lewenstein, B.. ( 2019;), ‘ Science stories as culture: Experience, identity, narrative and emotion in public communication of science. ’, Journal of Science Communication, 18:5, https://bibliotheek.ehb.be:2102/10.22323/2.18050201.
     [Google Scholar]
  34. Davis, E.. ( 2015), TechGnosis: Myth, Magic & Mysticism in the Age of Information, Berkeley, CA:: North Atlantic Books;.
     [Google Scholar]
  35. Devs ( 2020, USA:: Disney Platform Distribution;).
     [Google Scholar]
  36. Elsaesser, T.. ( 2019), European Cinema and Continental Philosophy: Film as Thought Experiment, New York:: Bloomsbury Academic;.
     [Google Scholar]
  37. Emergence ( 2019, USA:: ABC Studios;).
     [Google Scholar]
  38. Fabozzi, A., and Fattori, A.. ( 1989;), ‘ Fatascienza. ’, in A. Asor Rose. (ed.), Letteratura italiana. Storia e geografia, III: L’età contemporanea, Turin:: Einaudi;, pp. 1223–43.
     [Google Scholar]
  39. Farman, A.. ( 2012;), ‘ Re-enchantment cosmologies: Mastery and obsolescence in an intelligent universe. ’, Anthropological Quarterly, 85:4, pp. 1069–88, https://bibliotheek.ehb.be:2102/10.1353/anq.2012.0055.
     [Google Scholar]
  40. Ferry, L.. ( 1995), The New Ecological Order, Chicago, IL:: University of Chicago Press;.
     [Google Scholar]
  41. Ferry, L.. ( 2016), La révolution transhumaniste: comment la technomédecine et l’uberisation du monde vont bouleverser nos vies, Paris:: Plon;.
     [Google Scholar]
  42. Forbes, B.. ( 1975), The Stepford Wives, USA:: Columbia Pictures;.
     [Google Scholar]
  43. Frank, S.. ( 2003;), ‘ Reel reality: Science consultants in Hollywood. ’, Science as Culture, 12:4, pp. 427–43.
     [Google Scholar]
  44. Garland, A.. ( 2014), Ex Machina, USA:: Universal Pictures;.
     [Google Scholar]
  45. Gleick, J.. ( 2011), The Information: A History, a Theory, a Flood, New York:: Pantheon Books;.
     [Google Scholar]
  46. Gondry, M.. ( 2004), Eternal Sunshine of the Spotless Mind, USA:: Focus Features;.
     [Google Scholar]
  47. Harvey, D.. ( 1990), The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, Oxford:: Blackwell;.
     [Google Scholar]
  48. Heelas, P.. ( 1993;), ‘ The new age in cultural context: The premodern, the modern and the postmodern. ’, Religion, 23:2, pp. 103–16, https://bibliotheek.ehb.be:2102/10.1006/reli.1993.1010.
     [Google Scholar]
  49. Heelas, P.. ( 1999), The New Age Movement: The Celebration of the Self and the Sacralization of Modernity, Oxford:: Blackwell;.
     [Google Scholar]
  50. Heffron, R. T.. ( 1976), Futureworld, USA:: Metro-Goldwyn-Mayer;.
     [Google Scholar]
  51. Humans ( 2015, UK:: Kudos);.
     [Google Scholar]
  52. Jameson, F.. ( 1997), Postmodernism, or, the Cultural Logic of Late Capitalism, Durham, NC:: Duke University Press;.
     [Google Scholar]
  53. Jones, D.. ( 2009), Moon, USA:: Sony Pictures Classics;.
     [Google Scholar]
  54. Karofsky, A., and Litch, M.. ( 2020), Philosophy through Film, , 4th ed.., London:: Routledge;, https://bibliotheek.ehb.be:2102/10.4324/9780367809423.
     [Google Scholar]
  55. Kirby, D.. ( 2017;), ‘ The changing popular images of science. ’, in K. H. Jamieson,, D. Kahan, and D. A. Scheufele. (eds), Oxford Handbook on the Science of Science Communication, Oxford:: Oxford University Press;, pp. 291–300.
     [Google Scholar]
  56. Kirby, D. A.. ( 2003;), ‘ Science consultants, fictional films, and scientific practice. ’, Social Studies of Science, 33:2, pp. 231–68, https://bibliotheek.ehb.be:2102/10.1177/03063127030332015.
     [Google Scholar]
  57. Kirby, D. A.. ( 2011), Lab Coats in Hollywood: Science, Scientists, and Cinema, Cambridge, MA:: MIT Press;.
     [Google Scholar]
  58. Korte, H.. ( 1999), Einführung in die systematische Filmanalyse ein Arbeitsbuch, Berlin:: Erich Schmidt;.
     [Google Scholar]
  59. Korte, H.. ( 2010), Einführung in die systematische Filmanalyse: ein Arbeitsbuch, Berlin:: Erich Schmidt;.
     [Google Scholar]
  60. Koyré, A.. ( 1957), From the Closed World to the Infinite Universe, Baltimore, MD:: Johns Hopkins University Press;.
     [Google Scholar]
  61. Kroustallis, B.. ( 2012;), ‘ Film as thought experiment: A happy-go-lucky case?. ’, Film-Philosophy, 16:1, pp. 72–84.
     [Google Scholar]
  62. Le Breton, D.. ( 2000;), ‘ Playing symbolically with death in extreme sports. ’, Body & Society, 6:1, pp. 1–11, https://bibliotheek.ehb.be:2102/10.1177/1357034x00006001001.
     [Google Scholar]
  63. Le Breton, D.. ( 2002;), ‘ Il corpo in pericolo. Antropologia delle attività fisiche e sportive a rischio. ’, Rassegna Italiana di Sociologia, 3, pp. 407–27.
     [Google Scholar]
  64. Lears, J.. ( 2016;), ‘ Material issue: Reclaiming a living cosmos from the dead-end tradition of western scientism. ’, The Baffler, 32, pp. 48–61.
     [Google Scholar]
  65. Lecercle, J.-J.. ( 1988), Frankenstein: mythe et philosophie, Paris:: University Press of France;.
     [Google Scholar]
  66. Long, M., and Steinke, J.. ( 1996;), ‘ The thrill of everyday science: Images of science and scientists on children’s educational science programmes in the United States. ’, Public Understanding of Science, 5:2, pp. 101–19.
     [Google Scholar]
  67. Lucas, G.. ( 1971), THX1138, USA:: Warner Bros. Pictures;.
     [Google Scholar]
  68. Lyon, D.. ( 2013), Jesus in Disneyland: Religion in Postmodern Times, Cambridge:: Wiley & Sons;.
     [Google Scholar]
  69. Lyotard, J. F.. ( 1984), The Postmodern Condition: A Report on Knowledge, Minneapolis, MN:: University of Minnesota Press;.
     [Google Scholar]
  70. Maffesoli, M.. ( 2018;), ‘ Considérations sur le “sacral” postmoderne. ’, Sociétés, 139:1, pp. 7–17, https://bibliotheek.ehb.be:2102/10.3917/soc.139.0007.
     [Google Scholar]
  71. Marhsall, G.. ( 1990), Pretty Woman, USA:: Touchstone Pictures;.
     [Google Scholar]
  72. McClelland, T.. ( 2019), Philosophy and Film: Bridging Divides(ed. C. Rawls,, D. Neiva, and S. S. Gouveia.), London:: Routledge;, https://bibliotheek.ehb.be:2102/10.4324/9780429435157.
     [Google Scholar]
  73. Meindl, S.. ( 2021;), ‘ Cute and larcenous: The future of cinematic robots. ’, 2021 Conference of the Popular Culture Association, online, 2–5 June.
     [Google Scholar]
  74. Mikos, L.. ( 2003), Film- und Fernsehanalyse, Munich:: Uvk Verlagsgesellschaft Mbh;.
     [Google Scholar]
  75. Morin, G.. ( 1963), L’industria culturale: saggio sulla cultura di massa, Bologna:: Il Mulino;.
     [Google Scholar]
  76. Nardini, D.. ( 2018;), ‘ Il surfista, eroe romantico nell’Australia contemporanea. Un’analisi etnografica a partire dal caso della Gold Coast. ’, Im@go: Journal of the Social Imaginary, 11:7, pp. 62–83.
     [Google Scholar]
  77. National Science Foundation ( 2000), Indicators: Science and Engineering 2000, Washington, DC:: National Science Foundation;.
     [Google Scholar]
  78. Newcomb, H., and Hirsch, P. M.. ( 1983;), ‘ TV as a cultural forum. ’, Quarterly Review of Film Studies, Summer, pp. 561–73.
     [Google Scholar]
  79. Nolan, C.. ( 2010), Inception, USA:: Warner Bros. Pictures;.
     [Google Scholar]
  80. Nowotny, H.. ( 2005;), ‘ High- and low-cost realities for science and society. ’, Science, 308:5725, pp. 1117–18, https://bibliotheek.ehb.be:2102/10.1126/science.1113825.
     [Google Scholar]
  81. Ortoleva, P.. ( 2019), Miti a bassa intensità: racconti, media, vita quotidiana, Turin:: Giulio Einaudi Editore S.P.A;.
     [Google Scholar]
  82. Patterson, A.. ( 2019), The Vast of Night, USA:: Amazon Studios;.
     [Google Scholar]
  83. Pecchinenda, G.. ( 2009), La narrazione della società. Appunti introduttivi alla sociologia dei processi culturali e comunicativi, Santa Maria Capua Vetere:: Ipermedium;.
     [Google Scholar]
  84. Romanek, M.. ( 2010), Never Let Me Go, USA:: Searchlight Pictures;.
     [Google Scholar]
  85. Schreier, J.. ( 2012), Robot and Frank, USA:: Samuel Goldwyn Films;.
     [Google Scholar]
  86. Secondulfo, D.. ( 2009;), ‘ Alle radici delle medicine alternative: il concetto di energia. ’, in D. Secondulfo. (ed.), Il mondo delle medicine alternative, immagini, percorsi, pazienti, Milan:: Franco Angeli;, pp. 139–68.
     [Google Scholar]
  87. Scott, R.. ( 1982), Blade Runner, USA:: Warner Bros. Pictures;.
     [Google Scholar]
  88. Spielberg, S.. ( 1993), Jurassic Park, USA:: Universal Pictures;.
     [Google Scholar]
  89. Stengler, E.. ( 2015;), ‘ Beyond the techno-thriller: Michael Crichton and societal issues in science and technology. ’, Fafnir-Nordic Journal of Science Fiction and Fantasy Research, 2:3, pp. 23–30, http://journal.finfar.org/articles/beyond-the-techno-thriller-michael-crichton-and-societal-issues-in-science-and-technology. Accessed 21 March 2023.
     [Google Scholar]
  90. Taylor, B.. ( 2007;), ‘ Surfing into spirituality and a new, aquatic nature religion. ’, Journal of the American Academy of Religion, 75:4, pp. 923–51, https://bibliotheek.ehb.be:2102/10.1093/jaarel/lfm067.
     [Google Scholar]
  91. Taylor, B.. ( 2010), Dark Green Religion: Nature Spirituality and the Planetary Future, Berkeley, CA:: University of California Press;.
     [Google Scholar]
  92. Turner, F. J.. ( 1914;), ‘ The West and American ideals. ’, Washington Historical Quarterly, 5:4, pp. 243–57.
     [Google Scholar]
  93. Ubbens, W.. ( 2010;), ‘ Rezension von: Einführung in die systematische Filmanalyse: ein Arbeitsbuch. ’, Informationsmittel für Bibliotheken, 18:4, https://ifb.bsz-bw.de/cgi-bin/result_ifb.pl?item=bsz330108883rez-1.pdf. Accessed 31 July 2023.
     [Google Scholar]
  94. Verhoeven, P.. ( 1987), RoboCop, USA:: Metro-Goldwyn-Mayer;.
     [Google Scholar]
  95. Vidal, B.. ( 2015;), ‘ Doomsday clock: The apocalypse and the scientific imaginary. ’, Im@go: Journal of the Social Imaginary, 6:4, pp. 171–83.
     [Google Scholar]
  96. Villeneuve, D.. ( 2017), Blade Runner 2049, USA:: Warner Bros. Pictures;.
     [Google Scholar]
  97. Wachowski, L., and Wachowski, L.. ( 1999), The Matrix, USA:: Warner Bros;.
     [Google Scholar]
  98. Westworld ( 2016, USA:: HBO;).
     [Google Scholar]
  99. Wincer, S.. ( 1985), D.A.R.Y.L., USA:: Warner Bros. Pictures;.
     [Google Scholar]
/content/journals/10.1386/jspc_00030_1
Loading
Representations of robotics and AI in Westworld (1973–2016): A sociological analysis of the imagery of science and technology in popular culture
Journal of Science & Popular Culture 4, 135 (2021); https://bibliotheek.ehb.be:2102/10.1386/jspc_00030_1
/content/journals/10.1386/jspc_00030_1
/content/journals/10.1386/jspc_00030_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): film analysis; Michael Crichton; science fiction; science–society dialogue; virtual witnessing; Westworld

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test