Ex Machina plays against type extremely well, and it is, in part, particularly effective because of the genre tropes are relatively consistent. There’s really only one term to cinematically describe a reclusive, temperamental genius working on a project he hopes will change humanity: the mad scientist. In the history of science fiction film, the mad scientist has traditionally either been directly responsible for a crisis (potential or realized) by creating the problem, or indirectly responsible by trying to control something so powerful that no one could possibly control it. The latter was used largely in the 1950s and 1970s by reflecting the two perceived threats during those eras: atomic/nuclear power and pollution, respectively. But in these films, the extent of the power being studied must be balanced against what that scientist is trying to accomplish. In Ex Machina, Nathan’s portrayal is a fascinating one, embodying the Silicon Valley, “work hard, play hard” bro-culture we see in the U.S. tech industry, and he’s able to completely detach his own actions/desires from his work, a cognitive dissonance that allows him to create a line of slaves at the same time he tries to reproduce artificial intelligence. This chapter will place Nathan within the larger context of science fiction’s history of mad scientists, analyzing similarities and determining what those differences mean.
La vida imaginaria del científico. El caso del cómic ‘Los Proyectos Manhattan’
