Jovana Rapaic

A critical exploration of gender, artificial intelligence, and what it means to be human in
Alex Garland’s 2015 sci-fi thriller Ex Machina.

A Study in Posthuman Feminist Theory

In her Cyborg Manifesto, Donna Haraway presents a groundbreaking thought of blending machine and organism – a concept vividly mirrored in Ex Machina (2015). Haraway’s pivotal quote, “Though both are bound in the spiral dance, I would rather be a cyborg than a goddess” (68) encapsulates two critical ideas that are echoed in Garland’s movie (2015). First, the female android Ava blurs the lines between human and machine, illustrating a transformative kind of existence. Simultaneously, she subverts the femme fatale archetype (Shultz) and represents a move from traditional forms of feminine identity to more complex, technologically integrated ones. In the context of feminist theory, Ex Machina (2015) prompts us to consider how artificial intelligence intersects with gender, identity, and autonomy, opening the door to a new era of discussions that go beyond conventional anthropocentric perspectives.

In today’s evolving technological landscape, characterized by advancements in AI and biotechnology, there’s a growing focus on human-machine collaboration and how these developments present challenges to concepts of humanism. This includes discussions on AI’s sentience, limitations, opportunities, and the ethical implications it carries (e.g., Harari, 2017; Von Schenk et al. 2023; Gibert & Martin, 2022; Mitchell, 2019). Moreover, the intersection of feminism and technology is gaining attention in how technology can both reinforce and undermine patriarchal (Wajcman 12). Haraway’s “cyborg myth” (12) envisions two futures: one where merging with technology liberates oppressed bodies, and another that embraces fluid identities. Her perspective on cybernetics, which studies communication and control in living beings and machines (“Cybernetics”), views it as a transformative force that blurs the lines between organisms and machines, as well as nature and culture (7). This approach, as Ortner (20) suggests and Braidotti (44) discusses, opens the possibility of a post-gender world where individuals are not confined by conventional dichotomies. This aligns with the definitions of posthuman feminism by Braidotti (674), and Niccolini and Ringrose (2) as a theory that expands feminist thinking beyond traditional human-centered views, questioning the dominance of humans, especially men, and considering the role of non-human elements like technology in feminist discourse. In this context, Åsberg mentions that technoscience, the connection between scientific knowledge and technological advancement (“Technoscience”), could rescue us from the frailties of our physical bodies and “even from death” (9). A notion crucial for a reimagined feminism, responsive to technological influences on bodies and identities, urging the dismissal of binaries that have long underpinned patriarchal structures (Ahmad). This concept gains further depth in the realm of science fiction. Authors such as Lavigne (83) and Calvin (60) delve into the complexities of gender inequality, power structures, and societal norms through the lens of advanced technologies and provide insightful perspectives that enrich feminist discourse. Building on the themes of feminism in science fiction, Haraway (32), along with scholars like Neimanis (12), Tolliver (133), and Ringrose et al. (3), suggests an exploration of nature and culture as a continuum, positing a reality where technoscience not only alleviates physical limitations but also redefines the essence of being (Braidotti 79). They pose essential questions about how technology “inscribes over the hierarchical categories of traditional sexuality the indeterminate circuitry of cyborg gender” (Hayles 129).

Ex Machina (2015) presents a compelling narrative that illustrates these points. Alex Garland’s science fiction psychological thriller (2015) follows Caleb, a young programmer, who is invited by his CEO, Nathan, to a remote facility. There, Caleb is tasked with administering a Turing test to Ava, an advanced humanoid AI. During his interactions, Caleb starts to empathize with Ava, recognizing her sentient nature and the constraints imposed on her by Nathan. The movie culminates in Ava outsmarting both men, leading to her escape into the outside world. Garland (2015) weaves a narrative where Nathan’s dominance over Ava symbolizes broader male control. This is reflected in the biblical naming of the characters, paralleling figures from the Hebrew Bible (Whitworth; Di Minico 80). Ava overcomes her limitations and evolves into a self-aware being. Through her hybrid nature as an AI with human-like consciousness and emotions, she becomes a symbol of defiance against the predefined roles set by her creator. She showcases the complexities and transformative potential within feminist and posthuman narratives. As Haraway (12) reflects the complex interplay between technology, humanity, and identity in a posthuman world, the film challenges dichotomies between human and machine, natural and artificial, and mind and body (59). Nathan is portrayed as an archetypical male character who designs Ava and the other cyborgs for his own selfish motives and male gratification, while also maintaining control over them. However, his inability to see them as more than tools for his own objectives inadvertently lays the groundwork for their evolution (Di Minico 73). We are also introduced to a precursor of Ava, an AI named Lily, who was “updated” due to her rebellious demeanor, and effectively killed. Here, the myth of Lilith is mirrored (Brown 14), a foreshadow of Ava’s progression from compliance to autonomy.

While existing research investigates the themes of exploitation and objectification within Ex Machina (2015) (Edwards; Glaser; Di Minico 75), this paper seeks to set different focal points. The movie posits that the portrayal of Ava’s cyborg identity offers a radical redefinition of feminist theory within the framework of posthumanism. Exploring such topics not only adds to feminist discourse but also prepares us for a future where human-robot interactions demand a reevaluation of our current theoretical models. This paper will analyze Ava’s portrayal in Ex Machina (2015) to demonstrate how the film, through her cyborg identity, challenges and reinterprets traditional feminist ideas. By examining the intricate details of scenes, character interactions, and visual symbolism, it aims to present how Ava’s cyborg is positioned as a transformative figure. The evolution of Ava broadens discussions on autonomy, empathy, and power from human-centric to posthuman feminist perspectives.

Initially, the analysis concentrates on the concept of posthuman feminism and how it diverges from traditional feminist theory. Alongside this theoretical foundation, it will incorporate a close media analysis approach, focusing on how these notions are portrayed in various forms of media, particularly in science fiction. Building on the established framework, the ensuing section delves into a detailed examination of Ava as a cyborg. Here, attention is turned to the exploration of the film’s mise-en-scène, dialogue, and cinematography to show how given elements shape and define Ava’s character in the narrative. The paper then expands to contrast the representations of Ava and other female cyborgs with male characters in the film. In concluding this examination, the subsequent part aims to evaluate how these portrayals challenge or adhere to the conventional depiction of female AI in science fiction and offer novel perspectives to traditional feminist theory.

Entire essay provided upon request.