This page contains colour copies of all of the images used in Artificial Culture. While the restrictions on printing meant these images are rendered in black and white in the hardcopy and eBook, I have provided the original images here since the use of colour is important to the points I make in the book.
Figure 1.1. HAL/Discovery versus the pod in 2001: A Space Odyssey (Stanley Kubrick, 1968).
Figure 1.2. HAL’s red eye in 2001: A Space Odyssey (Stanley Kubrick, 1968).
Figure 1.3. David Bowman’s red eye in 2001: A Space Odyssey (Stanley Kubrick, 1968).
Figure 2.1. The Terminator’s ironic masculinity in in Terminator 3: Rise of the Machines (Jonathan Mostow, 2003).
Figure 2.2. The T-X’s phallic appropriation in Terminator 3: Rise of the Machines (Jonathan Mostow, 2003).
Figure 2.3. Arnold Schwarzenegger as special effect in Terminator: Salvation (McG, 2009).
Figure 8.1. (Re)Building Neo in The Matrix (Andy Wachowski and Larry Wachowski, 1999).
Figure 8.2. Exterminating the machines in The Animatrix (Peter Chung et al, 2003).
Figure 8.3. Neo’s informatic crucifixion in The Matrix: Revolutions (Andy Wachowski and Larry Wachowski, 2003).
Figure 9.1. The Cave Troll from physical model to wireframe to informatic interior in Lord of the Rings: Fellowship of the Ring Extended Edition DVD (Peter Jackson, 2002).
Figure 9.2. Andy Serkis/Gollum in in Lord of the Rings: The Two Towers Extended Edition DVD (Peter Jackson, 2003).
Figure 10.1. The death of Gwen Stacy in Kurt Busiek and Alex Ross, Marvels, 1994. Spider-Man, © and TM Marvel Entertainment LLC, all rights reserved and used with permission.
Figure 10.2. The original Spider-Man trailer. Columbia Pictures, 2001.
Figure 10.3. Spider-Man at Ground Zero in J Michael Straczynski and John Romita Jr, Amazing Spider-Man, 36, 2001. Spider-Man, © and TM Marvel Entertainment LLC, all rights reserved and used with permission.
Figure 11.1. Spider-Man unmasked in Spider-Man (Sam Raimi, 2002).
Figure 11.2. Spider-Man crucified in Spider-Man 2 (Sam Raimi, 2004).
Figure 12.1. WALL·E watches the sunset with EVE in WALL·E (Andrew Stanton, 2008).
