Important Scene In Ex-Machina

The epic 1998 war movie Saving Private Ryan opens in the present day with an elderly World War II veteran accompanied by his family visiting the Normandy American Cemetery and Memorial at Colleville-sur-mer in Normandy, France, site of the infamous D-Day landings by the Allies in Nazi-occupied France on June 4, 1944 that precipitated the end of Nazi occupation in Europe and the end of the war. As he approaches the tomb stones he begins walking faster, separating from his family behind him and he collapses in tears at the foot of one grave in particular, that of Captain John H. Miller. The screen then dissolves and transitions to the horrendous scenes of human carnage on Omaha Beach on Normandy on June 4, 1944 seen through the eyes of Captain Miller. The final scene of the movie was especially memorable because of the way that it tied together the memories of the elderly veteran with the heroism and human tragedy that took place on the same beaches and that he witnessed and experienced personally inland.

Maria is eventually kidnapped and her face is used for a robot being commissioned by Joh as a way to dominate the workers who are planning an uprising. Maria’s doppelganger takes on the biblical role of the “whore of

In Nathaniel Hawethorne’s The Scarlet Letter, five scenes stand above the rest in the entirety of the book. Each of these scenes focusing on one of the main characters, Hester Prynne and her daughter, Pearl, Arthur Dimmesdale, and Roger Chillingworth, who’s real name has never been revealed. In order of occurrence, the scenes which have been deemed most important include, Hester on the scaffold holding Pearl as an infant, and Roger Chillingworth visiting Hester while she is still in the prison being two examples. Another being what many would consider the climax of story is when Dimmesdale stands on the scaffold with Hester and Pearl in the darkness. The final two being Dimmesdale and Hester’s meeting in the forest, and the day upon which Arthur confesses his sins and passes on. Though these are all strictly opinion, they are key points in the novel.

One of the hottest topics that modern science has been focusing on for a long time is the field of artificial intelligence, the study of intelligence in machines or, according to Minsky, “the science of making machines do things that would require intelligence if done by men”.(qtd in Copeland 1). Artificial Intelligence has a lot of applications and is used in many areas. “We often don’t notice it but AI is all around us. It is present in computer games, in the cruise control in our cars and the servers that route our email.” (BBC 1). Different goals have been set for the science of Artificial Intelligence, but according to Whitby the most mentioned idea about the goal of AI is provided by the Turing Test. This test is also called the

However, when Eliza recounts the story of her sexual assault later, it becomes clear that this graffiti is more than a joke; it is a form of symbolic violence against her. In fact, Eliza later tells Keith that she was sexually assaulted by her roommates the night that these notes were written on her door, and the men used the same markers to write on her art and her body. When Eliza’s roommates write on her drawings of the mutation and her body, they visually equate her with the disease, and the notes on the door mock her for her attempts at gaining authority over her mutation. Further, by drawing graffiti on Eliza’s body her roommates symbolically connect her to the door and the art, reducing Eliza to an object and refusing to recognize her humanity. This graffiti not only represents the symbolic violence of the male gaze or the physical violence of assault, but also a narrative violence that associates Eliza with objects. These notes do not recognize Eliza’s autonomy, but reduce her to a physical mutation and objectify her through her infection. By using this graffiti to equate Eliza with her illness, Burns draws attention to the objectification of women through the male gaze and how this symbolic violence can be used by men to justify physical violence as well.

This contributes to the player’s vulnerability and gives evidence that Sondra is naïve and is easily fooled which coincides with the stereotype. Lastly, Estelle’s inability to understand rape and why men do it puts her in a position of vulnerability. Estelle is explaining to the man at the bar that “[she] know[s] it happens but [she] just [doesn’t] understand it” (Atwood “Rape Fantasies” 6). Estelle’s ignorance puts her in a vulnerable state because she is unable to understand the risk the man poses and this shows his power and intelligence over her. This unbalance of power and intelligence stereotypes men as being superior to females which is displayed by Estelle and the man she is with. To close, Atwood’s feminism is evident through her use of vulnerability to expose the unfavourable stereotypes of

This paper will offer ways to solve the sexism in Ex Machina. I think this is an interesting question because it is important to figure out ways to solve a problem. By fixing this problem, society can figure out how to deal with gender in AI, which I think is very important.

I will be discussing the character, Ava, from the movie Ex Machina, and how she compares the Marx’s theory of human nature. Marx’s theory of human nature is that everything is matter, everything is caused by material processes, and the economic structures of society condition the ideas and forms of life exhibited by its citizens. Is Ava truly a human being with AI (artificial intelligence) or is she just an android that could be ‘human like’? What will determine if Ava is a true human is if she passes the Turing test. The Turing test examines if a machine is exhibits intelligent behavior from that of a human?

Ex Machina begins with a man, Caleb, sitting in front of his computer at work and discovering he won a contest to visit the company’s CEO, Nathan, for a week. The way this first scene is shot shows a connection to and reliance on technology, and a disconnect from real human interaction. Shots are focused on the computer screen, the webcam, and Caleb’s phone, some even shift the viewer’s perspective to looking out at Caleb from inside of the computer in front of him. Caleb has his earphones in and seems distant from his “real-world” surroundings, first texting and emailing people to tell them he won, then when people from the office come up to congratulate him in person he barely acknowledges them. This opening scene helped set the tone and

In the movie, Ex Machina, Nathan Bateman, a big CEO, manufactures Artificial Intelligence and wants to prove whether it has consciousness and whether it can be indistinguishable from human life. Nathan hires Caleb Smith, a programmer at his firm, to assess the AI he creates. By the end of the movie, Caleb decides that Ava has successfully passed the Turing Test and is a fully conscious AI. However, seconds later we find out that the Turing Test is all a ploy, and Caleb is just a puppet in the plan. Despite this, Nathan says that Ava has indeed passed the test, followed by the immediate deceit of Ava, leaving Nathan and Caleb to die.

The setting of Ex Machina is utilized to create a distinct parallel of male territory being on the first floor of the house and of female-AI domain belonging to the subterranean levels of the house. This binary suggests that males are supreme over females by having their province in the house literally above the females which suggests their dominance in the “trophic levels” of life. Likewise, the first conversation Nathan, the creator, and Caleb, the tester, partake discussing the AI’s takes place on the first floor. Caleb retorts that Nathan has made deity-like history: “If you’ve created a conscious machine, it’s not the history of man. That’s the history of gods” (00:11:23). Male dominance further exudes from their dialect as Nathan exerts his divine authority over the AI’s by altering Caleb’s words to refer to himself as a

Man seems to have an unnecessary obsession with applying gender to objects such as ships, cars, and various other possessions that are often referred to with a feminine descriptor. Robots have no biological gender, yet humans assign the illusion of gender to robots, designating some as masculine androids, and others as feminine gynoids. Woman from the times that these stories “Helen O'loy” and “A Wife Manufactured to Order” took place were often seen as subservient and akin to possessions of the men they married. The ideal woman was one who could cook, clean, and was seen and not heard, so a robot could easily be programmed to reach theoretical perfection. Both stories though subverted this notion and attempted to prove that an ideal woman is in every way a man's equal using the guise of robotic gynoids to create a plausible commentary for equality.

Even though the bodies of Ava and Kyoko are robotic they are both a clear visual indication of the objectification of female bodies. The movie’s portrayal of gender is very clear-cut. Ava is born into a patriarchal system that measures her worth based on how the men (Caleb and Nathan) respond to her. It was up to her whether or not to exploit or avoid that system; Nathan’s turning test was to see whether or not Ava would use her sexuality to coerce Caleb into setting her free. The men in this film represent the patriarchal society that we currently live in today and how it can breed misogyny. This film showcases a sort of food chain relationship between all the characters; Caleb, as the benevolent patriarchal system, Nathan, as the obsessive patriarchal system, and Ava as the femme fatale, the woman character that brings disaster to anyone she is involved with. They all believe that they are on the top of the power structure and in the end are oblivious to each other’s

As a computer science major, it is only natural that I would have an affinity to science fiction films. However, Alex Garland’s Ex Machina is not just any science fiction film, it is a view into the human psyche and society’s subconscious fear of being replaced by something we perceive to be greater than ourselves. Ex Machina is a morally ambiguous story that is Promethean in nature, because “fire” or intelligence has been given to machines. Many of the characters in Ex Machina exhibit Jungian archetypes such as Ava being the dreamer, Caleb Smith as a positive animus, Nathan Bateman as a negative animus, and Kyoko as a positive shadow. However, some may have different perspectives on who would

Quentin Tarantino’s use of postmodern aesthetics in the opening scene of Inglorious Basterds establishes a film that fully exists in cinema rather than serving as a representation of natural reality. His use of intertextuality creates a film and characters, such as the main character of the opening scene, Colonel Hans Landa, that reflect film in general. Every feature is marked by a belonging to a specific genre or several different genres. Almost everything seems to be a quotation from a prior film. Every character seems to be acting, with every line marked as being part of a role rather than the expression of a realistic identity. The opening scene, which serves as twenty-minute long suspense beat leading up to impending violence, possesses many of the postmodern qualities that define the film in general. Postmodern elements, such as intertextual music, self-reflexive characters, ironic dialogue and actions, and much more, are used to elevate the suspense towards violence while at the same time establishing the film as self-reflexive and separate from reality. The film is set in 1942 and is about World War II, but Tarantino often adds additional, somewhat conflicting, features to the war genre through the use of these postmodern mise-en-scène elements. With Inglorious Basterds, Quentin Tarantino creates a work of art that is a form of bricolage molded together from previous work done in the film industry. The movie pays homage to that which came before it, while at the