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By Patricia Melzer

Even though set in different worlds populated by way of alien beings, technological know-how fiction is a domain the place people can critique and re-imagine the paradigms that form this international, from basics similar to the intercourse and gender of the physique to international energy family between sexes, races, and international locations. Feminist thinkers and writers are more and more spotting technological know-how fiction's capability to shatter patriarchal and heterosexual norms, whereas the creators of technological know-how fiction are bringing new intensity and complexity to the style by way of attractive with feminist theories and politics. This ebook maps the intersection of feminism and technology fiction via shut readings of technology fiction literature via Octavia E. Butler, Richard Calder, and Melissa Scott and the flicks "The Matrix" and the "Alien" sequence. Patricia Melzer analyzes how those authors and movies characterize debates and ideas in 3 components of feminist idea: identification and distinction, feminist opinions of technology and expertise, and the connection between gender id, physique, and hope, together with the hot gender politics of queer wants, transgender, and intersexed our bodies and identities. She demonstrates that key political components form those debates, together with international capitalism and exploitative classification family inside of a becoming foreign method; the effect of laptop, business, and scientific applied sciences on women's lives and reproductive rights; and post-human embodiment as expressed via biotechnologies, the body/machine interface, and the commodification of wish. Melzer's research makes it transparent that feminist writings and readings of technological know-how fiction are a part of a feminist critique of present energy relatives - and that the alien buildings (cyborgs, clones, androids, extraterrestrial beings, and hybrids) that populate post-modern technological know-how fiction are as probably empowering as they're threatening.

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Chela Sandoval, in ‘‘New Sciences: Cyborg Feminism and the Methodology of the Oppressed,’’ emphasizes the alliances and intellectual legacies of theories by women of color that run through Haraway’s work. Of some concern is the fact that, as Sandoval states in ‘‘New Sciences,’’ ‘‘Haraway’s metaphor . . ), and of an increasingly global capitalism in which Western technologies are imposed onto a Third World. Joseba Gabilondo warns in ‘‘Postcolonial Cyborgs: Subjectivity in the Age of Cybernetic Reproduction’’: ‘‘When Foucault proclaimed the death of ‘Man’ in 1966, he did not realize that capitalism does not get rid of its old technologies and apparatuses; instead it exports them to the Third World’’ (424).

T]hese stories are continuing to happen in simultaneous and overlapping ways as we tell them. They happen, in part, through the complex ways they are taken up by each of these movements and theoretical practices’’ (Undoing Gender 4). Science fiction is one cultural location where these ‘‘theoretical practices’’ are represented and negotiated. e. bodiless) space. This optimistic vision of transcending gender in cyberspace often is in conflict with the material-based discourses around nonnormatively gendered bodies (transsexual and intersexed), where embodiment is not separate from a trans identity, as discussed by Allucquere Rosanne Stone in The War of Desire and Technology (1995) and Thomas Foster in The Souls of Cyberfolk (2005).

In what ways can the text remain subversive, and does the reappropriated image actually undermine the radical potential of the counter-discourse it reflects? Thus an alternative subject position may result in the familiar exoticization and eroticization of the other. My analysis examines the tension between appropriation and resistance in the openly affirmative ways in which these two films deal with issues within cyborg feminism and feminist cyberpunk critique (such as through their female figures) and the questions that arise from their representations: In what way are feminist cyborg images coopted through mainstream appropriation?

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