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• W2341872765 abstract "first entirely computer-animated, photorealistic feature-length film based on the principles of live-action cinema, Final Fantasy: Spirits Within (2001, henceforth Final Fantasy) was a commercial failure. Produced by Square USA, Inc. and directed by Sakaguchi Hirobu, the award-winning executive producer of the popular interactive game software Final Fantasy series, the film was praised for the beauty and technological achievement of its computer graphics but widely derided for its uninspired screenplay. Its box-office record was so poor that Square was compelled to scrap all plans to make further Final Fantasy movies and to withdraw from the film business altogether.' This essay argues that Final Fantasy is a transitional film that marks a turning point in the history of moving-image media, as well as in the history of science fiction. I will show that the significance of Sakaguchi's film lies less in its largely successful attempt to create cinematic digital animation than in the variegated, often intriguing ways in which it illuminates the conceptual history of representation of life in the cinema, in animation, and in contemporary new media cultures. Final Fantasy demonstrates that that which provides continuity, desire, and cross-fertilization between analog and digital moving image media, on the one hand, and between these media and the information-based life sciences, on the other, is a contingent, historically, and media-specific notion of life (and of death) as artificial life, or a-life. essay is divided into two sections. first discusses the notion of a-life in early cinema and film theory, as well as in early animation (in particular in a category of animated films that I shall call cinemation that foregrounds the interaction between live-action cinema and animation), to which Final Fantasy's envisioning of the Phantom invasion-and to a lesser extent its CGI humans-calls attention. common characteristic of the conceptualization and representation of life in these various media histories is life excess-a concept that designates the excessive vitality or liveliness of ghosts and resurrected dead characters, animism, and a phenomenology of frantic motion. second section of the article traces Final Fantasy's remediation2 of the notion of life in the neo-vitalistic, evolutionary biology of Lynn Margulis and in contemporary theories of Artificial Life. I argue that the film's endeavor to replicate, and simultaneously to transcend and reinvent, these imaginaries produces an uncanny effect because it relies on the double repression embodied in Freud's suppression of the potential aliveness, and hence subversive significance, of the doll Olympia in his reading of E.T.A Hoffmann's novella The Sandman in Das Unheimliche (1919). Another operation of double suppression-which becomes a wellspring for uncanny effects and aesthetics in its own right-consists in Final Fantasy's attempt to camouflage science fiction's own abduction and substitution" @default.
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• W2341872765 date "2016-01-01" @default.
• W2341872765 modified "2023-09-23" @default.
• W2341872765 title "A-Life and the Uncanny in Final Fantasy: The Spirits Within" @default.
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