championing the brave new world
of computer graphic imagery enhanced film art
in the twilit literary art of William Gibson
by Gary W. Wright
While from a distance the ‘cyberpunk’ literary art of William Ford Gibson seemed unsually novel and separate from that which came before, on closer inspection this fiction proved to be as implicitly allegorical as always. In fact, Gibson often implied an interest in allegorically addressing and roasting New Hollywood film artists-particularly George Lucas-in his fiction. This implicit interest in New Hollywood took on greater significance after the fatal helicopter crash that killed child extras Renee Chen and Myca Le and actor/director/writer Vic Morrow around 2:20 am in the early morning hours of July 23, 1982 on the George Folsey jr. produced John Landis set of the Frank Marshall executive produced and Kathleen Kennedy associate produced allegorical Landis, Spielberg, Joe Dante and George Miller film, TWILIGHT ZONE: THE MOVIE (1983). Indeed, Gibson implicitly became one of the most significant literary artists of the subsequent dread allegorical Zone Wars, along with Screamin’ Stephen King and Salman Rushdie. However, unlike King and Rushdie, Gibson implicitly used his cyberpunk fiction and screenplays to promote the use of the ‘consensual hallucination’ of computer generated imagery (CGI) in film art so that it could replace dangerous on set special effects and prevent more fatal disasters. Indeed, twilit and allegorical novels like Neuromancer (1984) were written in such a way that the only way to realize them on film was with CGI enhancement. Fittingly, an interest in digital enhancement was seen in Gibson’s first allegorical short story, ‘Fragments Of A Hologram Rose’ (1977).
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