Human-computer interaction in the late twentieth and early twentyfirst century has been aided by the graphical user interface (GUI). Cinematic representations of the GUI have reflected its pervasive quotidian presence and expanded beyond to create spectacular technophilic Hollywood
blockbusters. The screen-based interaction, which computers and the cinema share, offers an important point of reflection upon the embodied relationship among screen, spectator, and the onscreen computer user. By examining cinematic representations of hackers, experts, and users and the extent
to which they manipulate or submit to the computer's vision, this article considers the possible future interaction between spectator and the digital medium of cinema.
WINNER OF THE 2008 AAP/PSP PROSE AWARD FOR BEST NEW JOURNAL IN THE SOCIAL SCIENCES & HUMANITIES!
Projections is an interdisciplinary, peer-reviewed journal that explores the ways in which recent advancements in fields such as psychoanalysis, cognitive psychology, neuroscience, genetics and evolution help to increase our understanding of film, and how film itself facilitates investigations into the nature and function of the mind. The journal incorporates articles on the visual arts and new technologies related to film. The aims of the journal are to explore these subjects, facilitate a dialogue between people in the sciences and the humanities, and bring the study of film to the forefront of contemporary intellectual debate.