Previous studies have predominantly examined the representation of artificial intelligence in fictional literature, revealing a notable gap in analyzing cinema as an influential medium. The period before 1990 marked the onset of fundamental shifts in communication technologies and the public’s perception of technology, while the era after 2010 witnessed artificial intelligence becoming widely integrated into everyday life. These two historical ruptures have generated significant semantic transformations in cinematic portrayals that demand precise comparative and theoretical analysisThis study aims to conduct a comparative analysis of the “representation of artificial intelligence” in world cinema during the periods before 1990 and after 2010. Its central research question investigates the conceptual, narrative, character-development, and cultural-discourse differences and similarities surrounding artificial intelligence across these two eras. Twenty films (ten from each period) were selected based on their global acclaim and the centrality of artificial intelligence in their narratives. These films were analyzed using Saussurean–Peircean semiotics alongside Stuart Hall’s constructivist approach. The findings indicate that pre-1990 cinema predominantly focused on the “threat of technology” and the “human–machine war,” whereas post-2010 works emphasize “ethical crises,” “human–machine emotional relationships,” and “responsible coexistence.” Nevertheless, in both periods, artificial intelligence consistently functions as a “challenging Other,” perceived both as a threat and as a mirror reflecting humanity’s desires, hopes, and fears. The results underscore the necessity of rethinking the cultural-communication discourse surrounding technology and the shared future of humans and machines.
