Gendered transmediation of the digital fromS1m0netoEx Machina: ‘visual pleasure’ reloaded?

Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work

“…This tension between meaningful cinematic off-screen space and computer presence ungrounded outside the frame of screen is at the heart of recent digital melodramas, where men exist in traversable "real" cinematic spaces while digital/computer screenic presences are feminized. Thus, the low possibilities of actual romance define narrative outcome as in the case of Theodore Twombly's meeting Samantha, the operation system in Spike Jonze's 2013 Her, or Caleb and Nathan's falling for the artificial intelligence's bluish wires in Alex Garland's 2015 Ex Machina (see Virginás 2017).…”

Deconstructing Ex Machina (2014): a feminist-psychoanalytic exploration of female artificial intelligences

“…Garland, 2014), positioned as a crucial film text that portrays a contemporary perspective on female cyborgs, captivates the attention of scholars, particularly in their textual analysis of the discourse surrounding female cyborgs. This body of studies encompasses the examination of assigned gender roles and technological representations of gender (Alpert, 2016;Jones, 2016;Seaman-Grant, 2017;Virginá, 2017;Jelača, 2018;Musap, 2018;Hugonny, 2021;Ruby, 2022), ambivalent gendered power relations (Jones, 2016;Mackinnon, 2017;Meyers, 2017) and feminist epistemologies (Jelača, 2018). Most of their scholarly explorations unfold through the theoretical lens of Donna Haraway and Michel Foucault (Ruby, 2022), Judith Butler (Meyers, 2017;Musap, 2018), Laura Mulvey (Jones, 2016;Meyers, 2017;Virginá, 2017) and Mary Ann Doane (Jones, 2016;Seaman-Grant, 2017), offering insightful interdisciplinary investigation of Ex Machina within the broader discourse on the intersection of technology, gender and culture.…”

On the Role of Diegetic Electronic Screens in Contemporary European Films

“…Two frameworks of understanding need to be mentioned as these influence in a fundamental mode my hypothesis and the subsequent results. First, my long-term engagement with analysing the role and appearance of various screen surfaces in film diegesis, especially such cases when, besides being props, these multiple, non-cinematic screens also carry narratively significant information, which has the power to influence the first-level narrative thread of the films as such (see Virginás 2014a and2017). This endeavour luckily blends with the post-2015 resurgence of interest in screens and their theories, the vanishing point of which might be this observation of Roger Odin: "this trivialization of the framescreen [e.g.…”