30 January 2025, AI, Culture, and Society, Jorge Caballero and Isadora Campregher Paiva

#2 — AI in Film, From Production to Analysis: 30 January 2024, 15:30–17:00, Lab42, Room L3.36, Amsterdam Science Park

This seminar will delve into the role of AI in film, exploring its application in both creative production and critical study.

Invited Speakers:

Jorge Caballero (Artefacto Film & Universidad Pompeu Fabra)

Abstract: The integration of artificial intelligence (AI) into audiovisual production represents a transformative shift in the creation and analysis of cinematic narratives. At Artefacto, we explore the intersection of AI and filmmaking through research and production that combines technological innovation with critical reflection. This presentation examines case studies from Artefacto's ongoing projects, including OpenDocs, an initiative providing documentarians with AI tools to expand the creative and technical possibilities of storytelling. Drawing from a qualitative and quantitative analysis of over 300 short films and AI-driven works, we highlight recurring trends in the application of generative AI. These include iterative workflows for narrative development, character design, and visual production, alongside insights into the challenges of ethical authorship and creative agency. Through the analysis of large-scale data and multiple case studies from Artefacto's ongoing projects, including short films and experimental works, we aim to critically assess how AI is fostering new forms of audiovisual representation. These case studies illustrate the integration of traditional cinematic methodologies with cutting-edge AI technologies, showcasing how Artefacto innovates and redefines workflows, narrative structures, and visual aesthetics while critically interrogating the evolving landscape of filmmaking.

About the speaker: Jorge Caballero is a versatile creator and researcher working at the crossroads of technology, cinema, and social impact. He holds a Ph.D. in Communication (Cinema and Artificial Intelligence) from Pompeu Fabra University and is an Associate Professor at both Pompeu Fabra University and the Autonomous University of Barcelona. In these roles, he leads workshops that delve into the intersection of technology, filmmaking, and social transformation. He also co-directs the Postgraduate Program in Film Algorithms and AI at UAB, shaping the next generation of creators in the era of artificial intelligence. Caballero is the co-founder of GusanoFilms and Artefacto, two pioneering production companies whose works have premiered at renowned festivals such as Rotterdam, SXSW, and HotDocs. A two-time recipient of Colombia's National Documentary Award, his projects span virtual reality, AI-driven storytelling, and collaborations with institutions like the Sundance Institute and Tribeca Film Institute. His latest book examines artificial imagination, highlighting its potential to revolutionize storytelling while emphasizing inclusivity, accessibility, and ethical innovation in the field.

Isadora Campregher Paiva (UvA)

Title: Identifying Nudity in National Cinemas: Potentials and Pitfalls of Computer Vision

Abstract: Recent advancements in computer vision have piqued the interest of film scholars given their potential to test hypotheses about large film corpora, such as the film productions of entire countries through the years. As a case study, we focus on the reputation that certain national cinemas (in particular, the Netherlands, Sweden, and Denmark) have for containing more frequent displays of explicit nudity. In order to test whether this reputation is warranted, we have applied computer vision methods in combination with close readings of a sample of images from a swathe of Dutch, Scandinavian, and US (known for their relative lack of nudity) films. We take as our corpus films shown to Amsterdam audiences in the sample years of 1952, 1962, 1972, and 1982. Our results indicate that while current open models are prone to errors, particularly in the shape of false positives, they can provide convincing evidence of trends and indicate that the Dutch and Scandinavian reputations for nudity are warranted. Furthermore, the process of engaging with such models forced us to face just how subjective the definition of nudity is, since we had relatively high inter-coder disagreement during manual coding. Ultimately, our study underscores the necessity of reflexive and critical scholarship that is interdisciplinary and blends digital methods with humanistic interpretation. Amidst the AI hype, it's crucial to recognize the complexities inherent in historical analysis and engage in nuanced discussions about the role of technology in shaping our understanding of cultural phenomena.

About the speaker: Isadora Campregher Paiva is a lecturer in Film Studies at the University of Amsterdam (UvA), a PhD candidate at UvA's Amsterdam School for Heritage, Memory and Material Culture and a research associate in the project Social Sciences & Humanities Open Cloud (SSHOC-NL). She has a Master's in Sociology from the Universidade Federal do Rio Grande do Sul (UFRGS) and an MA in Audiovisual and Cinema Studies from the Goethe University Frankfurt, where she also worked as a lecturer and a research associate on the project “Digital Cinema-Hub”. Her research focuses on the application of digital methods to the study of film historical questions. This particular presentation is the result of work undertaken at UvA's CREATE Lab together with a team of collaborators.