By Sue Short (auth.)
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Extra resources for Cyborg Cinema and Contemporary Subjectivity
26 Cyborg Cinema and Contemporary Subjectivity Juxtaposed against the image of the ‘caring, sharing nineties’, perhaps best epitomised by family melodramas, a new nihilism had started to creep into cinema, indicating a sea-change in how humanity was perceived. This was particularly evident in horror films of the decade. 27 Yet horror cinema also started to evince a darker interest in the human psyche during this period, one that was evidenced by a growing fascination with serial killers as the new monster in our midst, and through which the limits of humanity itself were tested.
47 32 Cyborg Cinema and Contemporary Subjectivity Indeed, T3 arguably does little more than dust off the clichés established by its predecessor, as well as repeating its central plot, simply substituting a female cyborg for the T-1000 ‘metalmorph’. Yet the film also undoes many of the progressive elements of T2, replacing the image of single motherhood represented by Sarah Connor (Linda Hamilton) with a younger model who is also destined to be a ‘mother of the future’, yet this time within the confines of matrimony.
As such, they have tended to discredit the notion of achieving political change other than through utilising the seemingly miraculous potential of new technologies. 42 Geoff King makes a similar observation in response to The Matrix, noting that as its hacker heroes ‘penetrate the technologies of the oppressors and use them for subversive purposes . . 43 Yet the fact that the ‘oppressors’ in question are machines, rather than any human foe, and that the film manages to efface what King terms as ‘one of the gloomiest of dystopian scenarios’44 via a celebration of technology indicates the extent to which political issues first voiced in the cyborg film have now all but disappeared.
Cyborg Cinema and Contemporary Subjectivity by Sue Short (auth.)