In the era of cultural production increasingly shaped by artificial intelligence, big data and algorithmic logics have become deeply embedded in the fabric of film-criticism practices. Within this process,“AI distant viewing” conducted under the framework of computational film studies, together with algorithm-driven computational understanding and generative criticism,does not in fact construct a complete chain of “viewing-interpretation-critique. ” Instead, it tends to produce a de-aestheticized and de-experiential “meaning-vacuum” form of approximation. At the same time, platform-oriented aggregation and recommendation based on probabilistic statistics merely fabricate a service-oriented feedback mechanism that resembles criticism and appears to generate critical efficacy,while its essence lies in a field of homogenized opinion reproduction governed by algorithmic preset rules. The transformation of film criticism in the age of AI is therefore not a paradigmatic overhaul but a path-dependent intervention that introduces heterogeneous forces into processes of viewing,interpretation, and dissemination,  thereby exerting multidimensional infiltration, redirection, and structural constriction upon existing critical paradigms.

artificial intelligence , film criticism , “non-human” interpretation , hallucination , platform