We are entering an era in which “cultural construction of the body” refers to a literal technological enterprise. This era was anticipated in the 1920s by geneticist J. B. S. Haldane in a lecture which inspired Aldous Huxley's Brave New World. In that lecture, Haldane reinterpreted the Greek myth of Daedalus and the Minotaur as heroic fable. Seventy years later another geneticist, François Jacob, used the same myth as cautionary tale. Here I explain the Minotaur's “genetic” monstrosity in terms of (...) disability and hybridity, using the movie Gattaca to argue that ancient fears of monstrously disabled bodies are being recycled as bioethics. (shrink)

No filme Gattaca, imagina-se um futuro já nada distante em que os casais poderão consultar um especialista em fertilização artificial e escolher as características de seu futuro filho. Eles podem selecionar embriões fertilizados em laboratório, podendo também alterar seus traços genéticos, eliminando genes capazes de expressar doenças ou mesmo características físicas indesejáveis. Técnicas recentes, como a edição genética por Prime Editing ou por meio da CRISPR-Cas9, logo permitirão terapias gênicas em embriões fertilizados in vitro antes de sua implantação uterina. (...) Neste artigo, pretendemos avaliar essas possibilidades, revisando criticamente alguns argumentos conhecidos contra o uso indiscriminado de tais técnicas. Ao final, em defesa de que objeções de princípio a práticas eugênicas devem estar assentadas na proteção e promoção dos direitos humanos, pretendemos avaliar quais limites poderiam publicamente justificar a permissão ou proibição do uso privado de tais técnicas. (shrink)

A partir da temática abordada no filme Gattaca - a experiência genética, que trata de uma sociedade adepta da eugenia; mostraremos quais são as implicações morais que essa prática pode ocasionar em uma sociedade, bem como as diversas discriminações. Em contra-argumento a essa prática, abordaremos a teoria de Peter Singer em prol do princípio da igual consideração de interesses, demonstrando que dessa maneira teríamos sociedades menos discriminatórias. Enfim, queremos mostrar que caso não nos alertemos para as questões abordadas por (...) Singer, nós, agentes morais, faremos emergir uma sociedade preconceituosa, tal como vemos no filme Gattaca.: From selected themes in the movie Gattaca - A genetic experiment that describes a eugenics society, we will show what are the moral implications of the eugenic practice to the society as well as its several kinds of discrimination. We will argue against such practice by appropriating Peter Singer’s theory on behalf of the principle of equal consideration of interests by showing that societies based on it would be less discriminatory. Finally, we show that if we do not consider the issues raised by Singer we, moral agents, will make emerge a prejudiced society similar to that narrated by the movie Gattaca. Key words: Moral, Equality, Eugenie, discrimination. (shrink)

Der Artikel zeigt, dass der Einsatz von Spielfilmen in der Lehre sinnvoll sein kann, um Studierende an komplexe bioethische Themen heranzuführen und moralische Dilemmata zu diskutieren. Zunächst werden Funktion und Bedeutung des audiovisuellen Mediums (Spiel-)Film als Mittel zur ethischen Urteilsbildung reflektiert. Anhand von zwei Sequenzanalysen des Films GATTACA, in denen die gesellschaftlichen Konsequenzen gen- und reproduktionstechnologischer Entwicklungen in Bezug auf Zeugung und Familienplanung sowie veränderte Verwandtschafts- und Freundschaftsbeziehungen dargestellt sind, wird exemplarisch gezeigt, welche ethischen Fragen in welcher Art und (...) Weise hier thematisiert werden. Unter Bezugnahme auf das Ethische Reflexionsmodell von Marianne Rabe wird abschließend veranschaulicht, wie sich filmische Fälle praktisch in die Ethiklehre integrieren lassen. (shrink)

In this paper, I will present how film, and especially science fiction, illustrates and considers the theme of genetic engineering in its ethical implications. Drawing from the work of Thomas Wartenberg, I suggest that movies can be read as philosophy, since they present philosophical argumentations in the form of narrative. I will discuss popular science fiction films that address this theme, showcasing some of the most recurrent reflections and representations of future scientific and technological developments in the field of genetic (...) engineering. Finally, I will focus on the movie Gattaca in an analysis that presents its philosophical argument. Quoting Wartenberg’s categories, I will argue that Gattaca is both a thought experiment, illustrating a possible society where it is possible to decide the genetic code of one’s children, and a critique of genetic determinism. (shrink)

This correspondence offers a counterpoint to the recent article of Dov Greenbaum and Mark Gerstein defending the pertinence of GATTACA 25 years after its release. I develop three arguments for not being enthusiastic about dystopian representations in the ethical, legal, and social discussion of genetic technologies and genomic sciences.

Recognizing the variety of dystopian science-fiction novels and movies, from Brave New World to Gattaca and more recently Star Trek, on the future of humanity in which eugenic policies are implemented, genetic engineering has been getting a bad reputation for valid but arguably, mostly historical reasons. In this paper, I critically examine the claim from Mehlman & Botkin (1998: ch. 6) that human enhancement will inevitably accentuate existing inequality in a free market and analyze whether prohibition is the optimal (...) public policy for this objection as egalitarians might advise (Lamont and Favor, 2014). (shrink)

In this article, we review genetic determinism and highlight how our earlier research on the philosophy of place can contribute to a better understanding of genomics and ongoing debates about genetic modification. We show how place can undermine any philosophy of genetic determinism. By using our philosophy of place, our investigation contributes to a call for a turn for humanity toward a “collective being-at-home-in-the-world”, instead of being estranged from place which genetic determinism actively promotes. We also utilise cinema studies research (...) of the film GATTACA to conceptualise how place and genetic determinism contrast. Our examination is intended to contribute to ongoing discussions about genetic determinism as they play out in the media, in education and influence discrimination. Fundamentally, we show why scholars in this area should consider place alongside genetic determinism in their future investigations. (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors (...) examine medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

A partir da temática abordada no filme Gattaca - a experiência genética , que trata de uma sociedade adepta da eugenia; mostraremos quais são as implicações morais que essa prática pode ocasionar em uma sociedade, bem como as diversas discriminações. Em contra-argumento a essa prática, abordaremos a teoria de Peter Singer em prol do princípio da igual consideração de interesses, demonstrando que dessa maneira teríamos sociedades menos discriminatórias. Enfim, queremos mostrar que caso não nos alertemos para as questões abordadas (...) por Singer, nós, agentes morais, faremos emergir uma sociedade preconceituosa, tal como vemos no filme Gattaca.: From selected themes in the movie Gattaca - A genetic experiment that describes a eugenics society, we will show what are the moral implications of the eugenic practice to the society as well as its several kinds of discrimination. We will argue against such practice by appropriating Peter Singer’s theory on behalf of the principle of equal consideration of interests by showing that societies based on it would be less discriminatory. Finally, we show that if we do not consider the issues raised by Singer we, moral agents, will make emerge a prejudiced society similar to that narrated by the movie Gattaca. Key words : Moral, Equality, Eugenie, discrimination. (shrink)

What might it be like to be a Buddhist in a future world where your life started with your parents designing your genes? In addition to screening for unwanted genetic diseases, they would have selected your genes for sex; height; eye, hair, and skin color; and, if your parents are Buddhists, maybe even for genes that allow you to sit easily in the full lotus position. Pressured by current social fads, they may also have chosen genes whose overall functions are (...) not clearly understood but are rumored to be connected with temperament, intelligence, mindfulness, and perhaps psychic powers. (There is no longer any need to search for reincarnated lamas. They now clone themselves and get reborn in their own clones.) If your parents are poor, they may have been paid to design you with genes tailored for a particular occupation, together with a pre-birth contract for future employment. As in the film Gattaca, you probably belong to a clearly defined social class according to the degree of your genetic enhancement. Of course there may still be a few weird, unenhanced naturals-by-choice meditating in the mountains. (shrink)

Media carry the message of the scientific community into the wider world, though sometimes it would be more appropriate to say: of a certain scientific group. For the field of bioethics, this is particularly true. From films such as Gattaca to TV series like Black Mirror, the relationship between science and science fiction appears evidently bidirectional. This relationship is not new of course, but this paper discusses quasi-science-fictional experiments such as that of Sergio Canavero and the recent TV series (...) Altered Carbon through the lenses of the philosophical background they both rely on: immortality is achievable—and it should be sought with vehemence. At least by the rich. (shrink)

Technology is a mirror that reflects human nature and intentions: we want certain things done and we want tools to do those things; we are finite, frail, and mortal; we create technology in order to bring alternative worlds into being; we do not know why we create or what values should guide us. Imagination is central to technology. Human nature and human freedom are brought into focus when we reflect on the central role of imagination in technology.

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised by the use (...) of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

Utopia can be conceived as a possibility – a space within language, a set of principles, or the product of technological development – but it cannot be separated from questions of place, or more accurately, questions of “no place.” 1 In between the theoretically imaginable utopia and its realisation in a particular time and place, there is a space of critique, which is exploited in anti-Utopian and critical dystopian narratives. 2 In Science Fiction narratives of this kind, technology is responsible (...) for the transformation of the utopian impulse into a set of principles that are precisely stated and rigidly enforced. The critique focuses on the impossibility, due to the reductive force of instrumental reason, of any systematic realisation of a eutopia where the positive qualities of freedom, individualism and creativity are nurtured. The films Minority Report, directed by Steven Spielberg , and Gattaca, written and directed by Andrew Niccol , both examine utopian claims through speculation on the possible future use of current technologies, the tools of crime investigation and the genome project respectively. However, an examination of the plot cannot attend sufficiently to the particular properties of film and how it, as a medium, constructs utopia as a place. This article aims to address this issue by examining how technologically derived images of utopia are realised in the visual space of film, that is, on the level of the mise en scène. These images are often dystopian but the distinction between dystopia and eutopia is not crucial to the argument, because the aim is not to return utopian ism to its place at the vanguard of progressive politics, nor to reject utopianism on the basis that it is unrealisable, but rather to examine how technology and utopianism can combine in the visual language of film. My concern here is to investigate how utopia is conceived according to the specific features of the medium rather than to present an overarching narrative judgement as to the value of utopian principles. In Gattaca, the utopianism of a genetically determined future is reproduced in the mise en scène as a set of aesthetic principles, whereas in Minority Report the utopian technology itself resembles the apparatus of film. This involves two quite different approaches to the visualisation of utopia: 4 in Gattaca, utopia is embodied in a society in which there can be “no other place,” realised through the subtraction or reduction of visual difference; in Minority Report, utopia is an expression of a panoptic regime that can incorporate all visual and cultural difference such that the visible is “every place.”. (shrink)

This article explores some innovations in the concept of identity in contemporary science fiction film. Using a narrative-semiotic method of analysis, the article discusses an emerging trend in science fiction that questions mainstream cultural beliefs regarding motivations for action and definitions of individual agency. Focusing on Alex Proyas's Dark City and Andrew Niccol's Gattaca, the article traces the ways in which this trend rearranges elements in narrative positioning to bring to light relational possibilities that challenge privileged attitudes toward who (...) we are and why we act the way we do. The selected films deal creatively with questions concerning the causal eects of past events, origins, or heritage, and give innovative answers to complex philosophical issues about the nature of reality. At the same time, they retain a popular aesthetic and a classical narrative structure. Their common characteristic is a narrative program composed of signs of resistance to notions of a fixed identity 'caused' by biography or genetic inheritance. These signs, furthermore, form the basis of unconventional interpretations of self and action that serve as catalysts in dismantling outmoded definitions of identity. The article explores these issues following a content-based approach that focuses on how agents and acts are constructed on the story level. (shrink)

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The (...) Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)