By Sue Short (auth.)
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Extra info for Cyborg Cinema and Contemporary Subjectivity
The term has since been used to describe equally fantastical creatures in both film and literature, yet a number of cultural critics have also claimed that cyborgs already exist among us and have used both physiological and mental parameters to justify such an assertion. On physiological grounds, this may include owning a prosthetic or depending on artificial apparatus of some kind, or may even be extended to anyone who lives within a highly technologised culture. In a more subjective or cultural sense, cyborg status can be used to exemplify the constructed nature of contemporary identity and the routine and predictable ways in which people think and behave – providing what some may view as a still more disturbing implication of what it means to be machine-like.
OCP and the US military may variously be at fault for trying to play god, but they have also safeguarded their own position through these figures, while additionally providing the battlefield in which cyborgs can slug it out together in the ultimate gladiatorial contest. As one critic summed up such films: ‘When it became apparent that real men weren’t man enough to carry an action movie, the robots moved in. ’22 Good ultimately triumphs over evil in these films but the thoughtfulness of the earlier period is effectively sidelined also.
The fact that he makes the comment with regard to an advanced female cyborg who functions as both his replacement and his adversary could be interpreted on another level, however, because the T-X (Kristanna Loken) has superseded his former authority. In this sense Terminator 3 seems to stage an ultimate battle of the sexes as male and female cyborgs fight it out together – a confrontation that X-2 (Bryan Singer, 2003) similarly deploys in a fight scene between Wolverine and his female counterpart, Lady Deathstrike (Kelly Hu).
Cyborg Cinema and Contemporary Subjectivity by Sue Short (auth.)