Programming gender: surveillance, identity, and paranoia in Ex Machina.
This article examines the 2015 film Ex Machina as a cultural text that exemplifies the technologization of gender within algorithmic culture. Analysing different textual elements — the narrative diegesis, the marketing material, and the digital techniques used in the VFX post-production process—I ar...
| Publicado en: | Cultural Studies Vol. 37; no. 1; pp. 46 - 65 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jan2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=161309800&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 161309800 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09502386 05G jtl: Cultural Studies issn: 09502386 maglogo: N pubinfo: dt: Jan2023 vid: 37 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 161309800 10.1080/09502386.2022.2042575 ppf: 46 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2MB tig: atl: Programming gender: surveillance, identity, and paranoia in Ex Machina. aug: au: Phan, Thao su: Ex Machina (Film) Post-production in motion pictures Gender Culture Algorithms sug: subj: Ex Machina (Film) Post-production in motion pictures Gender Culture Algorithms keyword: automated culture Ex Machina gender surveillance capitalism ab: This article examines the 2015 film Ex Machina as a cultural text that exemplifies the technologization of gender within algorithmic culture. Analysing different textual elements — the narrative diegesis, the marketing material, and the digital techniques used in the VFX post-production process—I argue that gender is consistently figured as a kind of technology. That is, gender is systematised, codified, and reduced to a programmed set of instructions that can be used by machines to manipulate and deceive. I argue that understanding gender through its figuration with the technological, specifically through code and algorithms, raises pertinent issues concerning surveillance, race, and bias. This is reflected in the film through a problematic representation of racialised figures, particularly techno-Orientalist tropes of labouring Asian bodies. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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