The Ise Shrine Model: AI Cinema as Ceremony
From Volume 5 of the New Machine Cinema For thirteen hundred years, the Ise Grand Shrine in Japan has been torn down and rebuilt every twenty years. Same design. New wood. The cypr
God’s Eye
From Volume 5 of the New Machine Cinema Film is not a medium for the Mona Lisa. The medium is transient, not permanent. Not an object. It is the very artform of memory. You should
Style as Variable: A Very Long Carriage Ride
From Generative Animation: Volume 4 of The New Machine Cinema The Living, Breathing Cinema proposed that a film could survive translation across multiple valid forms while retainin
The Infinite Protocol
From Pirate Cinema: Volume 3 of the New Machine Cinema The Grammar of Machine Cinema How agentic filmmaking enables cinema’s modernist moment I. Cinema used to be organized a
Breaking the Caste System of Independent Cinema
From Pirate Cinema: Volume 3 of the New Machine Cinema On status, legitimacy, and the “demo” accusation in the age of machine-made film Independent cinema presents itself as a
The History of Special Effects is the History of Cinema
From Pirate Cinema: Volume 3 of the New Machine Cinema The earliest audiences paid to see things happen that could not happen: a rocket in the moon’s eye, a head that comes off a
Choose Your Protagonist: My Boyfriend is a Superhero!?
Announcing Jackson’s upcoming fully AI 3D animated romcom, My Boyfriend is a Superhero!? Expanding on “A Very Long Carriage Ride,” the groundbreaking proof of multifold machi
The Future Audience Will Be Machines
(From Post-Scarcity Cinema: Essays in AI Film Theory, Volume 2 of The New Machine Cinema) Exploring a post-audience future of cinema. In the future, everyone will be a filmmaker, n
The AI Restoration of ‘The Magnificent Ambersons’
(From “Post-Scarcity Cinema: Essays in AI Film Theory” Volume 2 of The New Machine Cinema) Hooroo Jackson presents the ultimate concept for AI cinema restoration, the most famo
The New Machine Cinema
(Essay from “The New Machine Cinema: Foundational Essays in AI Film Theory”) The revolution will not be filmed–it will be dreamed directly onto the screen. Machine fi
