Blurry, morphing and surreal – a new AI aesthetic is emerging in film
Emerging from generative AI’s quirky landscape, artists are creatively experimenting with new cinematic storytelling, blending surrealism and nostalgia, while transforming challenges into vibrant, imaginative experiences for all to enjoy.
Type text into AI image and video generators, and you’ll often see outputs of unusual, sometimes creepy, pictures.
In a way, this is a feature, not a bug, of generative AI. And artists are wielding this aesthetic to create a new storytelling art form.
The tools, such as Midjourney to generate images, Runway and Sora to produce videos, and Luma AI to create 3D objects, are relatively cheap or free to use. They allow filmmakers without access to major studio budgets or soundstages to make imaginative short films for the price of a monthly subscription.
I’ve studied these new works as the co-director of the AI for Media & Storytelling studio at the University of Southern California.
Surveying the increasingly captivating output of artists from around the world, I partnered with curators Jonathan Wells and Meg Grey Wells to produce the Flux Festival, a four-day showcase of experiments in AI filmmaking, in November 2024.
While this work remains dizzyingly eclectic in its stylistic diversity, I would argue that it offers traces of insight into our contemporary world. I’m reminded that in both literary and film studies, scholars believe that as cultures shift, so do the way we tell stories.
With this cultural connection in mind, I see five visual trends emerging in film.
1. Morphing, blurring imagery
In her “NanoFictions” series, the French artist Karoline Georges creates portraits of transformation. In one short, “The Beast,” a burly man mutates from a two-legged human into a hunched, skeletal cat, before morphing into a snarling wolf.
The metaphor – man is a monster – is clear. But what’s more compelling is the thrilling fluidity of transformation. There’s a giddy pleasure in seeing the figure’s seamless evolution that speaks to a very contemporary sensibility of shapeshifting across our many digital selves. https://www.youtube.com/embed/on1K_xXcjW0?wmode=transparent&start=0 Karoline Georges’ short film ‘The Beast.’
This sense of transformation continues in the use of blurry imagery that, in the hands of some artists, becomes an aesthetic feature rather than a vexing problem.
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Theo Lindquist’s “Electronic Dance Experiment #3,” for example, begins as a series of rapid-fire shots showing flashes of nude bodies in a soft smear of pastel colors that pulse and throb. Gradually it becomes clear that this strange fluidity of flesh is a dance. But the abstraction in the blur offers its own unique pleasure; the image can be felt as much as it can be seen.
2. The surreal
Thousands of TikTok videos demonstrate how cringey AI images can get, but artists can wield that weirdness and craft it into something transformative. The Singaporean artist known as Niceaunties creates videos that feature older women and cats, riffing on the concept of the “auntie” from Southeast and East Asian cultures.
In one recent video, the aunties let loose clouds of powerful hairspray to hold up impossible towers of hair in a sequence that grows increasingly ridiculous. Even as they’re playful and poignant, the videos created by Niceaunties can pack a political punch. They comment on assumptions about gender and age, for example, while also tackling contemporary issues such as pollution.
On the darker side, in a music video titled “Forest Never Sleeps,” the artist known as Doopiidoo offers up hybrid octopus-women, guitar-playing rats, rooster-pigs and a wood-chopping ostrich-man. The visual chaos is a sweet match for the accompanying death metal music, with surrealism returning as a powerful form.Doopiidoo’s uncanny music video ‘Forest Never Sleeps’ leverages artificial intelligence to create surreal visuals. Doopiidoo
3. Dark tales
The often-eerie vibe of so much AI-generated imagery works well for chronicling contemporary ills, a fact that several filmmakers use to unexpected effect.
In “La Fenêtre,” Lucas Ortiz Estefanell of the AI agency SpecialGuestX pairs diverse image sequences of people and places with a contemplative voice-over to ponder ideas of reality, privacy and the lives of artificially generated people. At the same time, he wonders about the strong desire to create these synthetic worlds. “When I first watched this video,” recalls the narrator, “the meaning of the image ceased to make sense.”
In the music video titled “Closer,” based on a song by Iceboy Violet and nueen, filmmaker Mau Morgó captures the world-weary exhaustion of Gen Z through dozens of youthful characters slumbering, often under the green glow of video screens. The snapshot of a generation that has come of age in the era of social media and now artificial intelligence, pictured here with phones clutched close to their bodies as they murmur in their sleep, feels quietly wrenching.The music video for ‘Closer’ spotlights a generation awash in screens. Mau Morgó
4. Nostalgia
Sometimes filmmakers turn to AI to capture the past.
Rome-based filmmaker Andrea Ciulu uses AI to reimagine 1980s East Coast hip-hop culture in “On These Streets,” which depicts the city’s expanse and energy through breakdancing as kids run through alleys and then spin magically up into the air.
Ciulu says that he wanted to capture New York’s urban milieu, all of which he experienced at a distance, from Italy, as a kid. The video thus evokes a sense of nostalgia for a mythic time and place to create a memory that is also hallucinatory. https://www.youtube.com/embed/FKTyGJar-dE?wmode=transparent&start=0 Andrea Ciulu’s short film ‘On These Streets.’
Similarly, David Slade’s “Shadow Rabbit” borrows black-and-white imagery reminiscent of the 1950s to show small children discovering miniature animals crawling about on their hands. In just a few seconds, Slade depicts the enchanting imagination of children and links it to generated imagery, underscoring AI’s capacities for creating fanciful worlds.
5. New times, new spaces
In his video for the song “The Hardest Part” by Washed Out, filmmaker Paul Trillo creates an infinite zoom that follows a group of characters down the seemingly endless aisle of a school bus, through the high school cafeteria and out onto the highway at night. The video perfectly captures the zoominess of time and the collapse of space for someone young and in love haplessly careening through the world.
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The freewheeling camera also characterizes the work of Montreal-based duo Vallée Duhamel, whose music video “The Pulse Within” spins and twirls, careening up and around characters who are cut loose from the laws of gravity.
In both music videos, viewers experience time and space as a dazzling, topsy-turvy vortex where the rules of traditional time and space no longer apply.In Vallée Duhamel’s ‘The Pulse Within,’ the rules of physics no longer apply. Source
Right now, in a world where algorithms increasingly shape everyday life, many works of art are beginning to reflect how intertwined we’ve become with computational systems.
What if machines are suggesting new ways to see ourselves, as much as we’re teaching them to see like humans?
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The Substitute Teacher Who Wanted Blueprints of Our House
A fifth-grade assignment took a strange turn when a substitute teacher asked students to draw schematics of their homes. What followed — a wildly fictional floor plan and a priceless reaction from my mom — turned into one of my funniest childhood memories.
The Substitute Teacher Who Wanted Blueprints of Our House
Elementary school memories tend to blend together — cafeteria pizza, playground arguments, the eternal struggle of times tables — but every once in a while, something happens that sticks with you for life. For me, that moment came in the fifth grade during a week when our regular teacher was out, and we cycled through substitute teachers like we were testing models for durability. By midweek, in walked a substitute with a mysterious, slightly intense energy — the kind of vibe that suggested he either meditated at dawn or worked a graveyard shift doing something he couldn’t talk about. We settled into our seats, expecting worksheets or quiet reading time. But nope. He had other plans. “Today,” he announced, “we’re going to draw schematics of our houses.” Schematics. Not drawings. Not little houses with smoke coming out of the chimney. Actual blueprint-style schematics. He wanted the layout of our bedrooms, our parents’ rooms, and where the pets slept. Every detail. Now, to be fair, Highlights Magazine did have a feature that month teaching kids how to draw floor plans. So maybe he was just a bit overenthusiastic about cross-curricular learning. Or maybe — and this is my completely rhetorical adult theory — he worked the graveyard shift as a cat burglar gathering intel between heists. Just moonlighting between blueprints. While the rest of the class tried their best to recreate their actual homes, my imagination sprinted in a totally different direction. The house I drew had:
A massive master bedroom with an oversized bathroom for my parents
Separate bedrooms for us kids on the opposite side of the house
A kitchen placed right in the center like a command center
And the dog — the true VIP — had a luxurious two-story doghouse
I had basically created a dream home designed by a 10-year-old watching too much Fantasy Homes by the Yard. Later that day, my mom asked the usual question: “So, what did you guys do today?” “We drew schematics of our house,” I said casually. The look on her face was instant and intense. She wasn’t panicked, but there was definitely a “Why does a substitute teacher need to know the exact layout of my home?” expression happening. Parental instincts activated. But then I showed her my diagram. She stared at it. Blinked. Then sighed with massive relief. “This isn’t our house,” she said. “Nope! I made it up,” I replied proudly. Her shoulders relaxed so much she probably lost five pounds of tension in one instant. If the substitute was secretly planning a heist, my masterpiece of misinformation would have sent him to the wrong house entirely. Looking back, the whole moment feels like a sitcom setup — a mysterious substitute collecting “house schematics,” me creating a completely fictional piece of architecture, and my mom going on a full emotional journey in under 30 seconds. Maybe he was just excited about the Highlights Magazine floor-plan activity. Or maybe — just maybe — he moonlighted in cat burglary. We’ll never know. But if he was, I like to think I threw him completely off the scent.
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How China cleaned up its air pollution – and what that meant for the climate
How China cleaned up its air pollution: Beijing’s air quality went from hazardous to good while Delhi and Lahore still struggle. Discover how China dramatically reduced pollution since 2013—and why cleaner air may have unintended consequences for global warming and climate change.
Delhi: 442. Lahore: 334. Beijing: 16. These are the levels of PM 2.5, one of the principle measures for air pollution, on November 19. As Pakistanis and Indians struggle with hazardous air quality, in Beijing – a city once notorious for its smog – the air quality is currently rated as good. Ahead of the 2008 Beijing Olympics, the Chinese government was so concerned about pollution that it introduced temporary restrictions on cars, shut down factories and stopped work on some construction sites. The measures worked and one study later found that levels of air pollution were down 30% during the period when the temporary Olympic restrictions were in place. It would take a few more years before the Chinese government implemented a clean air action plan in 2013. Since then, China has achieved a dramatic improvement in its air quality. In this episode of The Conversation Weekly podcast, we speak to Laura Wilcox, a professor at the National Centre for Atmospheric Science at the University of Reading in the UK, to understand how China managed to clean up its air pollution. But Wilcox’s recent research uncovered some unintended consequences from this cleaner air for the global climate: the pollution was actually helping to cool the atmosphere and by taking it away, it may have accelerated global warming. Wilcox explains:
What we’re seeing is a removing of cooling that’s revealing warming that’s already there. So the air pollution isn’t the cause of the warming. It’s just letting us see stuff that we’ve already done.
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What makes a true Santa is inside – and comes with the red suit
Research on 849 professional Santas reveals three types: prototypical, semi-prototypical, and nonprototypical. Discover how diverse Santas navigate stereotypes and why many see the red suit as a calling, not just a job.
Members of the Fraternal Order of Real Bearded Santas meet at Pink’s restaurant at Knott’s Berry Farm before the holiday rush in 2009. Business Wire via AP
What makes a true Santa is inside – and comes with the red suit
Christina Hymer, University of Tennessee When you picture Santa Claus, a white, bearded, overweight and jolly man who dashes around delivering gifts to children during the Christmas season probably comes to mind. Yet, not everyone who dons the red suit fits this stereotype. That’s what Bethany Cockburn, Borbala Csillag and I learned when we teamed up to study professional Santas. For our study, we looked into how these professional Santas were able to “be” Santa, even if they didn’t fully fit the image. As we explained in a forthcoming article in the Academy of Management Journal, many who do this work don’t see it as just a job – it’s a calling. For some professional Santas, it’s especially important that they look and feel like Santa to experience that sense of purpose in their work. We surveyed 849 professional Santas who live across the U.S. and interviewed 53 of them, collecting data between 2018 and 2021. We identified three types of professional Santas: prototypical (64%), semi-prototypical (23%) and nonprototypical (13%). Prototypical Santas look the part. They are white and overweight, have real beards and express confidence that they are the right fit. Semi-prototypical Santas looked the part, too, but felt like they weren’t quite suitable for a range of reasons. They might be introverted or use a fake beard. Nonprototypical Santas had characteristics at odds with the stereotype. They might be nonwhite, female or gay, or have a physical disability.Many Santas see their work, whether paid or volunteer, as a calling.Photo by Gwyn Sussman Whereas prototypical Santas could easily slide into the Santa role, the process was more complex for the others. Semi-prototypical Santas did things like come up with stories they’d tell themselves or share with children to explain away their fake beards. Nonprototypical Santas had values aligned with the Santa image, such as being peaceful, loving and kind. But they still made a big effort to look like what people expect when they visit a Santa. “Should it be a difference if you’re a Jewish Santa Claus or a Catholic Santa Claus?” asked an atheist professional Santa we called “Santa Aquila.” “No. You’re Santa Claus. What do you do? You’re not even supposed to preach anything.” Another Santa whom we called “Santa Lynx” hid that she was female in part by flattening her chest.
Why it matters
While anyone can take a turn being their neighborhood potluck’s Santa, the one you meet at the mall probably attended some combination of Santa schools, webinars and training. For instance, the Charles W. Howard Santa Claus School was founded in 1937 and conducts an annual Santa training each year. National networks also exist, such as the Fraternal Order of Real Bearded Santas, which says it has 1,000 members, – and the IBRBS, formerly known as the International Brotherhood of Real Bearded Santas, offering meetups and professional support.Actor B.J. Averell, dressed as Santa Claus, attends a toy drive for struggling Bay Area families in Burlingame, Calif., in December 2024.Tayfun Coskun/Anadolu via Getty Images There are also local organizations, such as the Lone Star Santas network in Texas. Although most professional Santas are paid for their work, many do this voluntarily. It’s not uncommon for there to be some sort of expectation around who should have a particular occupation. Pilots tend to be male, most schoolteachers are female, and salespeople are often seen as extroverted. But that doesn’t mean that women can’t be pilots, men can’t be teachers or that introverts can’t work in sales.
What’s next
I’m now looking at how broader institutional environments, current events and social movements can shape how people experience their callings and find meaning at work. The Research Brief is a short take on interesting academic work.Christina Hymer, Assistant Professor of Management and Entrepreneurship, University of Tennessee This article is republished from The Conversation under a Creative Commons license. Read the original article.
Dive into “The Knowledge,” where curiosity meets clarity. This playlist, in collaboration with STMDailyNews.com, is designed for viewers who value historical accuracy and insightful learning. Our short videos, ranging from 30 seconds to a minute and a half, make complex subjects easy to grasp in no time. Covering everything from historical events to contemporary processes and entertainment, “The Knowledge” bridges the past with the present. In a world where information is abundant yet often misused, our series aims to guide you through the noise, preserving vital knowledge and truths that shape our lives today. Perfect for curious minds eager to discover the ‘why’ and ‘how’ of everything around us. Subscribe and join in as we explore the facts that matter. https://stmdailynews.com/the-knowledge/
Later that day, my mom asked the usual question: “So, what did you guys do today?” “We drew schematics of our house,” I said casually. The look on her face was instant and intense. She wasn’t panicked, but there was definitely a “Why does a substitute teacher need to know the exact layout of my home?” expression happening. Parental instincts activated. But then I showed her my diagram. She stared at it. Blinked. Then sighed with massive relief. “This isn’t our house,” she said. “Nope! I made it up,” I replied proudly. Her shoulders relaxed so much she probably lost five pounds of tension in one instant. If the substitute was secretly planning a heist, my masterpiece of misinformation would have sent him to the wrong house entirely. Looking back, the whole moment feels like a sitcom setup — a mysterious substitute collecting “house schematics,” me creating a completely fictional piece of architecture, and my mom going on a full emotional journey in under 30 seconds. Maybe he was just excited about the Highlights Magazine floor-plan activity. Or maybe — just maybe — he moonlighted in cat burglary. We’ll never know. But if he was, I like to think I threw him completely off the scent.
Gemma Ware, Host, The Conversation Weekly Podcast, The Conversation This article is republished from The Conversation under a Creative Commons license. Read the original article.
