The integration of Generative AI (GenAI) into audio-visual production is often presented as a radical break from past traditions. However, through a sociomaterial and historical lens, this paper argues that GenAI represents a new development in the long-standing negotiation between creative labor and technological possibilities. Moving beyond the limiting framework of human-machine co-creativity, we adopt an STS-based approach to investigate creativity in the making within the Filmmaking industry. We analyze Filmmaking as a distributed process where agency is shared across diverse human experts and non-human actors, showing how technological innovations have historically reconfigured Filmmaking practices long before the advent of AI. The article introduces an analytical taxonomy of GenAI techniques to illustrate how these technologies do not merely "assist" but can actively reconfigure professional roles, production temporalities, and film aesthetics. By linking sociomaterial configurations to aesthetic outcomes, this reframing suggests that AI technologies in Filmmaking should be seen as mediators that could enable new aesthetic possibilities by blurring the boundaries of traditional filmmaking workflows.

翻译：生成式人工智能（GenAI）融入视听制作常被视为对传统范式的根本性突破。然而，本文通过社会物质性与历史视角的审视，论证GenAI实则是创造性劳动与技术可能性长期博弈中的新发展。本文突破人机共创的局限框架，采用基于科学技术研究（STS）的方法，探究电影制作行业的创造力生成过程。我们将电影制作分析为一个分布式过程——行为主体在各类人类专家与非人类行动者之间共享，揭示早在人工智能出现之前，技术创新就已持续重构电影制作实践的历史规律。本文提出GenAI技术的分析分类法，阐明这些技术并非简单"辅助"创作，而是能够积极重构专业角色、生产时序与电影美学。通过将社会物质性配置与美学产出相关联，这种重构表明：电影制作中的人工智能技术应被视作中介者，其通过模糊传统电影制作流程的边界，催生新的美学可能性。