What are the moral implications of casting dead actors in new movies?
The legacy of the hit Netflix show Black Mirror will undoubtedly be the oft-used phrase, "That's some Black Mirror sh*t."
It's an idiom that has taken on a life of its own, often uttered by frat boys who know the vague premise of the show (fictional technology creating terrifyingly existential situations) from Twitter memes. No, Cayden, the new iPhone's triple camera is not some Black Mirror sh*t, it's just a slight technological improvement, now go finish your Four Loko and break another folding table. In fact, there are few real life instances that deserve this descriptor. For the most part, we are far from a world where any of the technologies in Black Mirror are even close to possible.
But James Dean, who died in 1955, appearing in a movie in 2019? Now that's some Black Mirror sh*t, Cayden.
Unfortunately, it's all too real. According to The Hollywood Reporter, Dean will star in a "Vietnam era action-drama" called Finding Jack. The movie's directors, Anton Ernst and Tati Golykh, said of the casting choice: "We searched high and low for the perfect character to portray the role of Rogan, which has some extreme complex character arcs, and after months of research, we decided on James Dean," He continued, "We feel very honored that his family supports us and will take every precaution to ensure that his legacy as one of the most epic film stars to date is kept firmly intact. The family views this as his fourth movie, a movie he never got to make. We do not intend to let his fans down."
The movie will be based on the novel by Gareth Crocker
Of course, this isn't the first time technology of this nature has attempted to bring back a dead icon for the pleasure of an audience. You might remember the now famous moment in 2012, when a Coachella crowd believed for a brief moment that Tupac Shakur was alive and well, performing on stage alongside Snoop Dogg. Or perhaps you caught wind of Whitey Houston's upcoming tour. Or maybe you remember thinking, "Is that Peter Cushing?" when watching Rogue One. Indeed, the British actor's likeness was used to recreate the role of Grand Moff Tarkin in the Star Wars saga. Perhaps even more eerily, images from Audrey Hepburn's film catalogue were harvested to create a one-minute ad for Galaxy chocolate bars in 2013, long after her death.
Artistic New Audrey Hepburn Galaxy Chocolate Commercial www.youtube.com
When asked by The Hollywood Reporter about this new utilization of CGI technology, Mark Roesler, CEO of CMG Worldwide, which represents Dean's family, said, "This opens up a whole new opportunity for many of our clients who are no longer with us." This eerie statement should strike fear into the heart of every struggling actor in LA who already has to compete with millions of other struggling and established actors to even land an audition, much less a major movie role. In a world where artists flounder to get adequate financial compensation for their work, it's downright irresponsible to cast dead people in roles that real living actors could inhabit. Not to mention, this practice so obviously undermines the art of acting, which is undeniably about the give and take of energy between living, breathing artists. Some of our most iconic movie moments were improvised between actors living in the moment of the scene, but how can that kind of creativity be included in the process if one character is just a pieced together series of old images? If you're doing a scene with what will eventually be a CGI James Dean, how do you play off your scene partner? How do you feed off the energy of a computer generated ghost?
In regards to these kinds of practices—the Whitney Houston hologram, in particular—journalist Simon Reynolds put it succinctly, saying, " On an ethical and economic level, I would liken it to a form of 'ghost slavery'," he continues. "That applies certainly when done without the consent of the star, [but rather] by the artist's estate in collusion with the record company or tour promoter. It's a form of unfair competition: established stars continuing their market domination after death and stifling the opportunities for new artists."
Essentially, If actors like Dean never die and just go on performing, even as their body decomposes under a quiet patch of grass somewhere, why support new artists at all? How do you break into an industry where you have to compete with the ghost of an actor whose legacy was firmly cemented by his untimely death?
Additionally, do we have any reason to believe Dean would have wanted his perpetually youthful image in a movie about a war that didn't even happen in his lifetime? What autonomy do artists have over their legacy after they pass?
While the morality of these digital resurrections remains firmly in a grey area, one thing is clear: The show business industry will do whatever it takes to milk every last cent from their artists, living or dead.Now thats some Black Mirror sh*t.
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Crucible needs to fail. Thankfully, it already is.
Boasting a massive budget, veteran talent sniped from some of the top gaming studios, and a gameplay experience tailor-made for Twitch streaming, Crucible represents Amazon's first major effort to break into the gaming industry as a first-party developer.
Presumably tired of just raking in all the money from third-part video games sales, Amazon, which straight-up owns Twitch, is hoping to replace streamer-favorite games like Fortnite, Overwatch, and League of Legends with their own. This is a major red flag for the future of video game streaming. A major company that controls advertisement space and means of distribution will most likely not play fair when they have their own content on the line, too. Amazon has already screwed over plenty of small business in all sorts of market spaces, and with their plans to create a cloud-based video game platform, it seems obvious that they're gearing up for a not-so-discreet monopoly in video games, too.
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