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Rubio-Tamayo, J. L., & Ángeles-Huesca, C. N. (2026). Generative artificial intelligence as a primary resource in audiovisual and multimedia production: an analysis of the output generated by Gen 48. Kepes, 23(33), 183–214. https://doi.org/10.17151/kepes.2026.23.33.7
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Abstract
The emergence of generative artificial intelligence (GAI) marked a turning point in contemporary audiovisual production, particularly with the advent of technologies such as ChatGPT, Midjourney, and Runway. The evolution of these tools has been exponential, expanding their range of applications, technical precision, and the degree of task automation, thereby transforming processes and workflows in the audiovisual and multimedia fields in unprecedented ways. This article addressed this transformation through two complementary approaches: a literature review that contextualized the development of GAI and its uses in the various phases of audiovisual production, and a multimodal analysis of 33 short films generated in the Gen 48 competition, a contest that challenged participants to create works in 48 hours using exclusively generative tools. It was concluded that IAGen not only shaped the form and rhythm of the works but also guided the emergence of new aesthetics, narrative structures, and creative strategies adapted to its capabilities and limitations. This study contributed to the understanding of hybrid human-machine agency in contemporary audiovisual creation and opened lines of research on its impact on production models and the development of new expressive languages.
References
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Najafov, E. (2024). Visual narratives: The future of AI-generated marketing videos. En ChatGPT for marketing: Learn practical applications of ChatGPT for marketing (pp. 121-131). Apress.https://doi.org/10.1007/979-8-8688-0312-3_6
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Nilsen, V. (1937). The cinema as a graphic art. (S. Garry, Trans.). UK: Newnes Ltd.
Rose, G. (2001). Visual methodologies: An introduction to the interpretation of Visual Materials.SAGE Publications.
Russell, S. (1981). Semiotics and lighting: A study of six modern French cameramen. USA: UMI Research Press.
Sánchez-Acedo, A., Carbonell-Alcocer, A., Gertrudix, M., y Rubio-Tamayo, J. L. (2024).The challenges of media and information literacy in the artificial intelligence ecology: deepfakes and misinformation. Communication y Society, 37(4), 223-239. https://doi.org/10.15581/003.37.4.223-239
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Simondon, G. (1965). L’imagination et l’invention. Bulletin de Psychologie, 19(246), 395-414.https://www.persee.fr/doc/bupsy_0007-4403_1965_num_19_246_7623
Somvanshi, D. (2019). The future of audiovisual story telling. Journal of Emerging Technologies and Innovative Research. 6(6). https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4728881
Spottiswoode, R. (1950). A grammar of the film. Los Angeles, CA: University of California Press.
Torres Carceller, A. (2024). The ARTificial Revolution: Challenges for redefining art education in the paradigm of generative artificial intelligence. Digital Education Review, 45, 84-90.https://eric.ed.gov/?id=EJ1434308
Viñolo Locubiche, S. (2024) AI and the development of new audiovisual narratives. En R. V. Benítez Rojas y F. J. Martínez-Cano (Eds.), Revolutionizing communication: The role of artificial intelligence (pp. 37-47). CRC Press. https://doi.org/10.1201/9781003473633-4
Arnheim, R. (1957). Film as art. California: University of California Press. Baraybar-Fernández, A., y Arrufat-Martín, S. (2025). OpenAI artificial intelligence: Revolution or Bubble? En A. Baraybar-Fernández, S. Arrufat-Martín y B. Díaz Díaz (Eds.), The AI revolution: How technological developments affect the audiovisual sector (pp. 1-13). Springer Nature Switzerland. https://doi.org/10.1007/978-3-031-80411-3_1
Baraybar-Fernández, A., Arrufat-Martín, S., y Díaz, B. (Eds.). (2025). The AI revolution: How technological developments affect the audiovisual sector. Springer Nature. Switzerland. https://doi.org/10.1007/978-3-031-80411-3
Bergson, H. (2007). Matter and memory. Read Books. (Obra original publicada en 1896).
Braun, S., Starr, K., y Laaksonen, J. (2020). Comparing human and automated approaches to visual storytelling. En S. Braun y K. Starr (Eds.), Innovation in audio description research (pp.159-196). Routledge. https://doi.org/10.4324/9781003052968-9
Bonilla-Builes, A. D., y Rocha-Castaño, C. A. (2025). La inteligencia artificial como directora: La búsqueda de experiencias narrativas personalizadas. Kepes, 22(32), 47–84. https://doi.org/10.17151/kepes.2025.22.32.3
Burri, M. (2024). Diversity and pluralism in the audiovisual sector with the rise of artificial intelligence. En Artificial intelligence in the audiovisual sector (IRIS Special Report, pp. 89-98). European Audiovisual Observatory. https://doi.org/10.2139/ssrn.5050520
Bywood, L. (2020). Technology and audiovisual translation. n Ł. Bogucki y M. Deckert (Eds.), The Palgrave handbook of audiovisual translation and media accessibility (503-517). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-42105-2_25
Chow, P. -S., y Celis Bueno, C. (2025). The cloak of creativity: AI imaginaries and creative labour in media production. European Journal of Cultural Studies. https://doi.org/10.1177/13675494251322991
Cowan, P. (2019). Aesthetic elements of the cinematographic image. Cinematography in Progress, 1(3), 1-13.
Deleuze, G. (1984). La imagen-movimiento: Estudios sobre el cine 1 (I. Agoff, Trad.). Paidós.(Obra original publicada en 1983).
Eugeni, R., y Pisters, P. (2020). The artificial intelligence of a machine: Moving images in the age of algorithms. NECSUS_European Journal of Media Studies, 9(1), 91–100. https://necsusejms.org/the-artificial-intelligence-of-a-machine-moving-images-in-the-age-of-algorithms/
Farinacci, E. (2024). Film and audiovisual education in the artificial intelligence era: Approaches and challenges. Cinergie–Il Cinema e le altre Arti, (26), 121-133. https://cinergie.unibo.it/article/view/19386
Feher, K. (2025). Generative AI, media, and society. Routledge.
Fiumi, E. (2025, 28 de abril). How I made a film in 24 hours. AI Cinema by Elettra Fiumi.
Gómez Gómez, H., y Rubio Tamayo, J. L. (2023). Algoritmografía, hito y fenómeno en la producción de imágenes fijas en la era digital: Resignificación de la noción de la imagen fotográfica y proyección del medio en un contexto de producción de imágenes con inteligencia artificial y machine learning. Visual Review. International Visual Culture Review/Revista Internacional de Cultura Visual, 14(2), 1-13. https://doi.org/10.37467/revvisual.v10.4607
Hales, C. (2021). Artificial intelligence: The latent revolution in filmmaking. ADAM ARTS, 2. https://journals.riseba.eu/index.php/adamarts/article/view/291
López Delacruz, S. (2023). Un vínculo paradójico: narrativas audiovisuales generadas por inteligencia artificial, entre el pastiche y la cancelación del futuro. Hipertext.net, (26), 31-35. https://www.raco.cat/index.php/Hipertext/article/view/413287
Luo, J. (2024). The research on efficiency application of audio-visual media empowered by AI in the transformation of digitalization. En Proceedings of the 2024 4th International Conference on Artificial Intelligence, Big Data and Algorithms (pp. 1175-1180). Association for Computing Machinery. https://doi.org/10.1145/3690407.3690602
Michael, G. (2024, 29 de mayo). Generating an AI film in 48 hours. Gabe Michael. https://gabemichael.ai/generating-an-ai-film-in-48-hours/
Mitchell, W. J. T. (2009). Teoría de la imagen (Y. Hernández Vázquez, Trad.). Ediciones Akal.(Obra original publicada en 1994)
Najafov, E. (2024). Visual narratives: The future of AI-generated marketing videos. En ChatGPT for marketing: Learn practical applications of ChatGPT for marketing (pp. 121-131). Apress.https://doi.org/10.1007/979-8-8688-0312-3_6
Neural Viz. (2024). Welcome to Void's [Cortometraje generado con IA]. Curious Refuge. https://curiousrefuge.com/ai-film-gallery/welcome-to-voids
Nilsen, V. (1937). The cinema as a graphic art. (S. Garry, Trans.). UK: Newnes Ltd.
Rose, G. (2001). Visual methodologies: An introduction to the interpretation of Visual Materials.SAGE Publications.
Russell, S. (1981). Semiotics and lighting: A study of six modern French cameramen. USA: UMI Research Press.
Sánchez-Acedo, A., Carbonell-Alcocer, A., Gertrudix, M., y Rubio-Tamayo, J. L. (2024).The challenges of media and information literacy in the artificial intelligence ecology: deepfakes and misinformation. Communication y Society, 37(4), 223-239. https://doi.org/10.15581/003.37.4.223-239
Serna-Bernal, M. A., y Rubio-Tamayo, J. L. (2025). Generative artificial intelligence in visual design processes for interactive multimedia environments: Analysis of pipelines and workflows and model proposal. Hipertext.net, (31), 11-24. https://doi.org/10.31009/hipertext.net.2025.i31.03
Shibuya, Y., Nakazato, T., y Takagi, S. (2025). How do people evaluate the accuracy of video posts when a warning indicates they were generated by AI? International Journal of Human-Computer Studies, 199, Article 103485. https://doi.org/10.1016/j.ijhcs.2025.103485
Simondon, G. (1965). L’imagination et l’invention. Bulletin de Psychologie, 19(246), 395-414.https://www.persee.fr/doc/bupsy_0007-4403_1965_num_19_246_7623
Somvanshi, D. (2019). The future of audiovisual story telling. Journal of Emerging Technologies and Innovative Research. 6(6). https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4728881
Spottiswoode, R. (1950). A grammar of the film. Los Angeles, CA: University of California Press.
Torres Carceller, A. (2024). The ARTificial Revolution: Challenges for redefining art education in the paradigm of generative artificial intelligence. Digital Education Review, 45, 84-90.https://eric.ed.gov/?id=EJ1434308
Viñolo Locubiche, S. (2024) AI and the development of new audiovisual narratives. En R. V. Benítez Rojas y F. J. Martínez-Cano (Eds.), Revolutionizing communication: The role of artificial intelligence (pp. 37-47). CRC Press. https://doi.org/10.1201/9781003473633-4
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