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Biotechnology Legal Restrictions

Legal Restrictions Sarcasm is the natural response to a movie like this–and yet A.I. gets to you at a level that makes sarcasm seem churlish and defensive. We long for little David (played by Haley Joel Osment with his usual otherworldly precocity) to become a real boy and to win the unambivalent devotion of his mother. But even as we capitulate to the longing, we remain fully aware of the movie’s creepiness.

The mother (Frances O’Connor, in a thankless role) is so strangely intense a love object in this movie that it’s almost surprising that A.I. didn’t receive an NC-17 rating. At the movie’s conclusion, David (resuscitated by kindly visiting aliens 2,000 years after the end of humanity–and no, you don’t want to hear the details) gets his wish in the form of a single day spent with his mother, during which he and he alone fulfills her every need. He wakes her up with a kiss and puts her to bed at night, and actually comments on how glad he is that her husband and her flesh-and-blood son are both long gone. This is the kind of thing that real boys say when they are about two or three years old; but to see the fantasy enacted in full Spielbergian regalia–to see it treated as a reasonable wish–is almost unbelievably bizarre.

The Jews were, like A.I.’s robots, a subspecies created by the Germans for their own practical purposes? Or conversely, that anything that looks and acts human must be human, so we put ourselves in moral jeopardy if we fail to perceive its innate rights? But movie characters played by live actors look and act human; we may even be fooled into having real emotions about them. Do we really rank manufactured objects alongside verifiable Homo sapiens, with the same rights and duties owed to both? (

Cooper, Pp. 20) From the start, Steven Spielberg has blurred the boundary between machines and animate beings, and the results, as the whole world knows, have been anything but rinky-dink. His first movie, Duel (made at age twenty-four!), a terse road thriller about a motorist terrorized by a truck driver across the highways of the West, turned the eighteen-wheel rig into a shark of the interstate, a terrestrial proto-Jaws.

The eerily cute mannequin of E.T. pushed the Spielbergian theme of benign extraterrestrials bearing enlightenment. And Jurassic Park, ostensibly a harrowing cautionary tale of technology run amok, turned into family fun, the medium overwhelming the message, Spielberg’s own technological wizardry pushing filmmaking entertainment to new levels of dazzle, suggesting an irrepressible optimism about the power of technology to fulfill human imagination. A.I.: Artificial Intelligence represents the director’s collaboration with the late Stanley Kubrick, whose vision–and property–A.I. was

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