Between Humans and Machine: The Iron Giant's Reflection of AI
Fig. 1 - The Iron Giant (Brad Bird, 1999).
Popular media has often portrayed technology as a looming threat to society and human livelihood. However, animation as a medium has provided a unique lens through which to explore the nuances of humanity's interaction with technological forces. Brad Bird's feature The Iron Giant (1999) stands as a poignant example of this exploration. By analyzing the use of hybrid animation techniques and storytelling in the film, I aim to unravel a metaphorical narrative that delves into humanity's relationship with technology, as well as its modern-day resonance with perceptions of artificial intelligence (AI) and assumptions on the threat of machine learning to humanity.
Adapted from Ted Hughes' 1968 science fiction novel of the same name, The Iron Giant centres around Hogarth Hughes, a young boy who befriends a colossal robot from outer space during the Cold War era (Fig. 1). As Hogarth and the giant forge a bond, they confront the distrust and paranoia of the human world, ultimately facing a military threat that could have catastrophic consequences. At the dawn of the 2000s, society grappled with the impending Y2K phenomenon—a widespread fear that computer systems would malfunction due to the rollover from 1999 to 2000. This fear intensified existing concerns regarding the sustainability of emerging technologies in the new century. However, within the animation industry, a contrasting narrative unfolded. At the time of The Iron Giant’s release, hybrid animation was a growing trend, as films such as Who Framed Roger Rabbit (Robert Zemeckis, 1988) and Space Jam (Joe Pytka, 1996) had highlighted the coexistence of traditional and CGI animation techniques at the close of the twentieth century (Telotte 180). While society and culture were grappling with the fear of the ever-changing technology of computers, the animation industry was experimenting with the new medium of computer-generated imagery. By examining the use of hybrid animation in the film and its metaphorical narrative that explores human relationships with technology, The Iron Giant can be recontextualized in the modern context, especially given the rapid acceleration of AI-generated art and animation (see Mihailova 2023).
In analyzing the digital dichotomy between traditional hand-drawn animation and CGI in The Iron Giant, parallels emerge with contemporary debates surrounding AI-generated art. The CGI-animated giant frequently devours his traditionally animated surroundings, literally and metaphorically. He is characterized by his large consumption of metal scraps throughout the film and readily absorbs knowledge about human language and behavior, both driven by his extreme hunger (Miller 2020, 386). Accurately described by one of the main characters, Dean, as a "metal-eating Frankenbot,” the giant’s desire for consumption and appropriation of human behavior reflects common perceptions of AI-generated art as derivative and lacking originality (Rankin 2011, 141). The latter creates a system where images are created using machine intelligence trained on human artists' work, often without proper credit or recognition, and in other words, is a “Frankenstein” of other artists’ creativity.
Fig. 2 - Hogarth and the eponymous Iron Giant.
The metaphor of the giant as a machine that must be "fed" mirrors AI machine learning that requires artistic data and algorithms to generate art. Just as the giant consumes metal to sustain itself, these AI algorithms require vast amounts of data to learn and create. This parallel also highlights the symbiotic relationship between humanity and technology, where both the giant and AI are dependent on external inputs to function and evolve. It also underscores the ethical implications of AI-generated art, as it raises questions about authorship, originality, and the potential to exploit human creativity.
The parallel between the giant and AI-generated art also lies in Bird’s characterization of the titular character, initially pitched to Warner Bros. with the phrase “What if a gun had a soul, and didn't want to be a gun?” (Blackwelder 1999). The motif of the giant as a gun in The Iron Giant serves as a powerful illustration of the complex relationship between humanity and technology, as the giant as a “gun” is the main reason for the human characters’ fear and apprehension. In one scene, Hogarth and the giant are playing around in Dean’s scrapyard, hiding from the military, currently searching for the eponymous character (Fig. 2). Hogarth roleplays as “the bad guy,” pointing his toy gun at the “Superman” giant. The giant, after learning earlier in the film that guns kill and it is immoral to do so, seemingly reacts to the gun being pointed at him by entering a trance-like state that had not yet been seen before, where his eyes glow red and weapons emerge from his body. He then unleashes a violent attack that almost harms Hogarth. When the toy gun is out of sight, the giant shakes himself out of this trance and returns to his neutral state.
The second time Hogarth points his gun, he again enters the trance. Dean notices this new state and pushes Hogarth out of the giant’s sight, in the way of recognizing that the giant is a “monster” after all, and further describes the giant as “a piece of hardware…a weapon, a big gun that walks”, to which the giant responds with “I not gun.” It is from this moment on in the film that Dean, and further, the audience, realizes that the giant only enters this defensive mode when provoked by a gun, and is otherwise friendly and resourceful (Miller 2020, 387). The giant, the metaphorical gun, only gets defensive and reactive when there is a literal gun, and that reaction can be as equally violent and fatal as the gun that he was taught is “bad.” In this scene, the film further confronts the notion of technology being influenced by human behavior, a concept echoed in modern discussions of ethics regarding AI-generated art. Moreover, when the giant transforms into the "gun" in the film, his CGI animation becomes more pronounced and distinct from the traditional 2D animated characters and backgrounds. This visual cue serves as a reminder of the giant's obvious difference and potential for violence, highlighting the impact of human influence on the “nature” of technology. Like the giant, who cannot act as the weapon he is programmed to be until provoked, AI can only be what it is programmed to be. Technology is neutral until it is influenced by external factors.
Fig. 3 - The Iron Giant's navigates out complex relationship with technology.
The robot’s journey embodies humanity's complex relationship with technology. From the sequence where Hogarth questions the giant about his origins and intentions to Kent's attempts to portray the giant as a menace to society, the film navigates themes of fear and acceptance in the face of technological advancement. However, as the film progresses, the giant's actions speak louder than words. Faced with the military's pursuit, the giant flees to the nearby city, where he becomes an unexpected hero, saving children from a falling building. The crowd's reaction shifts from initial terror to acceptance and admiration as they witness the giant's selfless act of heroism, and this scene exemplifies the film's overarching message about the potential for technology to unite rather than divide humanity.
Through its hybrid use of traditional 2D animation and cutting-edge CGI techniques, The Iron Giant provides a nuanced exploration of humanity's interaction with technology, particularly through the metaphor of the giant as a "gun." This hybrid approach to animation enhances the visual experience and enriches the film's narrative depth, inviting more profound reflections on the ethical and existential implications of artificial intelligence within the context of animation studies. Just as the giant transcends its initial portrayal as a menacing weapon, society's evolving views on AI suggest a similar potential for growth and understanding. As humanity continues to grapple with the implications of AI on various aspects of life, The Iron Giant is a reminder of the importance of empathy and human connection in navigating the complexities of an increasingly digital world.
**Article published: November 22, 2024**
References
Blackwelder, Rob. 1999. "A ‘Giant’ Among Animators". SplicedWire, available at: https://www.splicedwire.com/features/bradbird.html.
Mihailova, Mihaela. 2023. “Automated Animation: Where Craft Goes to AI.” Film Quarterly (April 5, 2023), available at: https://filmquarterly.org/2023/04/05/automated-animation-where-craft-goes-to-ai/.
Miller, T.S. 2020. “Frankenstein Without Frankenstein: The Iron Giant and the Absent Creator.” Journal of the Fantastic in the Arts 20, no. 3: 386–403.
Rankin, Sandy. 2011. “Population Us.” In This Galaxy is Rated G: Essays on Children’s Science Fiction Film and Television, eds. R.C. Neighbors and Sandy Rankin, 138-161. McFarland & Co.
Robinson, Kristian Jared. “Between a “Rock” and a Hard Place: The Hybridization of Analog and Digital in The Iron Giant.” Animation Studies Journal, available at: https://journal.animationstudies.org/between-a-rock-and-a-hard-place-the-hybridization-of-analog-and-digital-in-the-iron-giant/.
Telotte, J. P. 2010. Animating Space: From Mickey to Wall-E. Lexington: University Press of Kentucky.
Biography
Alyssa Lamell is a student at the University of Texas at Dallas, Harry W. Bass Jr. School of Arts, Humanities, and Technology, with a concentration in Animation and Games. She specializes in 3D modeling, but also enjoys studying and creating traditional 2D animation. Earlier versions of this text were developed with the help of Dr. Christine Veras and peers from the Animation Studies course.