Communications in Humanities Research ISSN: 2753-7072
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Research Article

Defining and Operationalising “AI Film” Within a Transmedia Storytelling Framework

Qiushi WangThe University of New South Wales*

* Corresponding author: [email protected]

Abstract

We advance an operational definition of “AI film” that integrates three lenses—computer-science systems and capabilities, communication/media studies on storyworlds and circulation, and industry/labour governance on contracts and credit. We formalize five dimensions—Generative Agency (GA), World Modularity (WM), Orchestrated Personalisation (OP), Algorithmic Distribution (AD), and Labour/Credit governance (LC)—and translate them into auditable coding criteria. Each dimension is specified with decision anchors (e.g., GA from assistive use to automated control; AD within a 7–14 day attention window) and evidence requirements (assets, logs, platform signals). Applying the framework to three contemporary cases (Marvel’s Secret Invasion title sequence, the indie horror Late Night with the Devil publicity stills, and TriStar’s Here with on-set face replacement), we map a gradient from peripheral augmentation to embedded, real-time generativity. We find that OP remains largely latent despite technical feasibility, while AD is frequently catalyzed by controversy or milestone coverage. The framework reduces false positives in classifying “AI film”, clarifies where ethical and legal risks concentrate (disclosure, consent, remuneration), and offers reproducible guidelines for empirical studies. We conclude with implications for credit attribution, contractual language, and cross-platform orchestration in transmedia environments.

Keywords: Ai film; transmedia storytelling; generative models; algorithmic distribution; labour and credit
Published: October 23, 2025
DOI: 10.54254/2753-7064/2025.KM28231
Volume: CHR Vol.86
pp. 65-80
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