Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Becoming-Flashdrive: The Cinematic Intelligence of Lucy

View through CrossRef
An important but easily forgotten moment in the history of film-philosophy is Jean Epstein's assertion that cinema, more than merely thinking, has a kind of intelligence. If it is a newfound conception of rationality that is needed for any contemporary ethical relation to the world, as thinkers from Reza Negarestani and Pete Wolfendale to feminist collective Laboria Cuboniks have espoused in their respective neo-rationalist projects, then cinema as a thinking thing must be interrogated in its relation to reason. A somatophilia of purely affective and phenomenological approaches in film theory alongside micropolitical injunctions to undermine common-sense and liberate one's desire in extremity can fall limp in view of such calls for universal thinking around rationality. To understand cinema's specific form of intelligence, this article will explore Luc Besson's Lucy (2014) as an instance of how film is able to represent intelligence. Besson's film provides a site where Western cultural anxieties and assumptions around intelligence are manifested. This will allow an explication of contemporary approaches to intelligence in philosophy whilst confronting these discourses with the insidious problematics of gender and race that undergird the film. I argue that Lucy shares many of its ambitions with the emerging vectors of thought associated with the neo-rationalist perspective in its engaging with a rethinking of universal values and the Promethean possibilities of human action. Reading the film through these philosophies will help position the ethical stakes it sets up, but also to distinguish it from a trend of contemporary “posthuman” films that it finds itself in company with. While it is certainly true that posthuman themes, as well as transhumanist fantasies, seem to permeate Besson's film, this article will incorporate another neologism, taken from neo-rationalist thinkers, in order to emphasise moments that can be productive from the standpoint of a philosophical account of intelligence: “rationalist inhumanism.”
Edinburgh University Press
Title: Becoming-Flashdrive: The Cinematic Intelligence of Lucy
Description:
An important but easily forgotten moment in the history of film-philosophy is Jean Epstein's assertion that cinema, more than merely thinking, has a kind of intelligence.
If it is a newfound conception of rationality that is needed for any contemporary ethical relation to the world, as thinkers from Reza Negarestani and Pete Wolfendale to feminist collective Laboria Cuboniks have espoused in their respective neo-rationalist projects, then cinema as a thinking thing must be interrogated in its relation to reason.
A somatophilia of purely affective and phenomenological approaches in film theory alongside micropolitical injunctions to undermine common-sense and liberate one's desire in extremity can fall limp in view of such calls for universal thinking around rationality.
To understand cinema's specific form of intelligence, this article will explore Luc Besson's Lucy (2014) as an instance of how film is able to represent intelligence.
Besson's film provides a site where Western cultural anxieties and assumptions around intelligence are manifested.
This will allow an explication of contemporary approaches to intelligence in philosophy whilst confronting these discourses with the insidious problematics of gender and race that undergird the film.
I argue that Lucy shares many of its ambitions with the emerging vectors of thought associated with the neo-rationalist perspective in its engaging with a rethinking of universal values and the Promethean possibilities of human action.
Reading the film through these philosophies will help position the ethical stakes it sets up, but also to distinguish it from a trend of contemporary “posthuman” films that it finds itself in company with.
While it is certainly true that posthuman themes, as well as transhumanist fantasies, seem to permeate Besson's film, this article will incorporate another neologism, taken from neo-rationalist thinkers, in order to emphasise moments that can be productive from the standpoint of a philosophical account of intelligence: “rationalist inhumanism.
”.

Related Results

Philosophic sur ordinateur ou intelligence artificielle
Philosophic sur ordinateur ou intelligence artificielle
L'informatique se définissant comme le traitement rationnel de l'information par machine automatique et l'intelligence se caractérisant par une même capacité de traitement rationne...
Reception
Reception
The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions...
Lucy Hutchinson’s Theological Writings
Lucy Hutchinson’s Theological Writings
Abstract Lucy Hutchinson’s religious commitments inform her writing across its variety of genres. Critics and historians have tended to identify her as a Baptist, fo...
The Lucy Site in Central New Mexico
The Lucy Site in Central New Mexico
The Lucy site in the Estancia Valley of central New Mexico promises to be an important locality for Early Man. Excavations were conducted there in the summer of 1954 as part of the...
Judging a book by its cover (and its background): effects of the metaphor intelligence is brightness on ratings of book images
Judging a book by its cover (and its background): effects of the metaphor intelligence is brightness on ratings of book images
Visual metaphors have been the focus of experimental and corpus studies aiming to determine whether metaphors are conceptual or purely linguistic. However, in visual metaphor resea...
The Intelligence of Fools: Reading the US Military Archive of the Korean War
The Intelligence of Fools: Reading the US Military Archive of the Korean War
This article examines the struggle over sovereignty on the Korean peninsula from the US occupation through the Korean War not over the usual stakes of geopolitical territory but, r...
Time and the making and remaking of the feminine gendered subject in Stephenie Meyer’s Twilight saga
Time and the making and remaking of the feminine gendered subject in Stephenie Meyer’s Twilight saga
Philosophy has a long tradition of speculating on the complexities of time and its impacts on individuals and a number of theorists have identified the critical role of temporality...
Still Life and High Life: Being and Tenderness
Still Life and High Life: Being and Tenderness
The question of the limits of representation has long gained significance for the the- ory and practice of cinema, but in recent years the critique of representational strat- egies...

Back to Top