Critical Theory in a Digital Age, CCU, ENGL 483 2017Main MenuTheory, English 483, CCU, 2017Alisha Petrizzo, Reproducing a ClassicTaking a look at how film can enhance or distort the authenticity of its original literature formatJocie Scherkenbach, Real Identity in a Virtual World: How Social Media Affects IdentityUsing the idea of cyborgs, as defined by Donna Haraway's "Cyborg Manifesto" the comparison is made between these cyborgs and social media users and how the public and private space converge and diverge within these spaces in order to form new and differing identities than the real-world identity.Kaitlin Schell, Electracy in #BlackLivesMatter and #MeTooMainstream hashtags that represent a movement in the physical world are explored in terms of Gregory Ulmer's theory of electracy and connotations.Kayla Jessop, The Uncanny Valley: Observations on Cyborgs within the Film IndustryA scholarly observation on how film industries use Freud's idea of the uncanny and the uncanny valley within cyborgs and computer generated animation.Bilingualism Through An Electronic Hypertext and The Baroque Simulacrum it Creates By: Lindsey MorganBy: Lindsey MorganMarcus Kinley, The Uncanny in Flatliners (1990)Tiffany Hancock, The Panopticon of CommoditiesYaicha Ocampo - Marx's Favorite LatteThe relationship between the simulacrum and the fetish commodityLeila Hassak-Digital Labor Through The Dystopian Film Hunger GamesElizabeth Tabor, From 'Token Girl' To 'Leading Lady'How The Rise In Female Fans Affects Modern Popular CultureKyle Malanowski, The Uncanny WithinVictor Cocco , The Wonderfully Mysterious World of the UncannyIntroductionAriel Ellerson : The Public Sphere's Effect on Social Media and ChurchTiffany Whisenant, Cyborg ProsthesisLooking at how technology is used to augment ourselves and how technology becomes extensions of our body and soul.Jen Boyle54753b17178fb39025a916cc07e3cb6dd7dbaa99
The feeling of horror is invoked within an audience when there is not a clear distinction between what is real and what is not.
Sigmund Freud first introduced the idea of the uncanny in his 1919 work The Uncanny, an essay about the psychological effects of the unfamiliar. Sigmund Freud suggests that, when found in “properties of persons, things, sensations, experiences, and situations,” it was the unfamiliar within the familiar that makes us uncomfortable (Freud 5). Freud describes that the feeling of uncanny is produced by anything that “arouses dread and creepy horror” (2). This is the idea that if something familiar is seen in an unfamiliar way, people tend to feel uneasy and frightened. Sigmund Freud explains the unfamiliar and familiar are noted within the boundaries of animate objects and inanimate: the feeling of horror is invoked within an audience when there is not a clear distinction between what is real and what is not. Freud’s uncanny is noted in multiple pieces of work: one being in relation to Donna Haraway’s Cyborg Manifesto- an essay about the connection between cyborgs and reality- and the other within the film industry’s exploitation of the uncanny valley.
The uncanny valley is a diagram that consists of the relationship between how human a corpse, animal, or robot looks like.
The uncanny valley is a deep slope in which inanimate objects look as if they are animate. Many of these objects look as if they could be human but are not human so they create an uncanny feeling amongst an audience. The uncanny valley is a diagram that consists of the relationship between how human a corpse, animal, or robot looks like. For the purpose of this research project, we will be focusing on humanoid robots within the slope. Many of these robots fall into the valley due to their uncanny appearance and movements; many having realistic features and body movements that are not mechanical or seemingly move as if it was effortless.