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Here whiteness is othered in two ways: Contrary to its chivalrous portrayal in the annals of US history, whiteness is sometimes considered a threatening and colonizing presence: Indeed white terror haunts the black male protagonist of I, Robot.
Spooner is suspicious of the robots from the outset, which invites the viewer to recognize the threat of whiteness embodied in the robots. They appear in droves, a horde of white monsters, and assault Spooner when his findings threaten the welfare of USR. In , Leroi Jones a. In the final scene, the audience is told that white beasts have occupied the entire globe and must be eradicated. Whiteness, in other words, threatens humanity in general and black people in particular with the threat of extinction.
Both texts explore whiteness through a trope of inhumanity or, more accurately, terror, in the process critiquing not only oppressive white identities but also the Western Enlightenment ethos. They are cold and emotionless. They are an imitation of life. The extreme image of whiteness acts as a distraction. An image of what whites are like is set up, but can also be held at a distance.
Extreme whiteness is, precisely, extreme. Extreme whiteness thus leaves a residue, a way of being that is not marked as white, in which white people can see themselves.
Yet progressively-minded whites consciously denied such a tarnished identity. The ordinary rejects the aberrant so as to reconstitute the quotidian but moral white subject.
Robot is caught in a similar dynamic, but with a crucial twist: I, Robot relies on a strategic othering to explore a future beyond white death, but not necessarily beyond whiteness. To be sure, there are non-robot human white characters in the film employed as scientists and corporate workers, but their presence is overshadowed by the narrative importance and slick packaging of the white robots.
Ironically, despite their high-tech provenance and imposing appearance, the robots are employed largely as menial laborers—custodians, mail carriers, and maidservants. Although the white slavery debate in the US swiftly receded, its underlying logic and imagery continues to inform the racial politics of white masculinity. More recently, the white slave has come to function as a proxy for the politics of white male backlash, offering a lucid symbol of the perceived socioeconomic displacement of white men in the post-civil rights era and thus expressing a sense of grievance presumably exclusive to them.
As the epitome of a disenfranchised subject, the robot can serve as a metaphor for the putative white male victim of the conservative right. The robots of I, Robot have menial jobs and experience various acts of discrimination: Further, the robots represent the perceived denigration of white men at the hands of affirmative action policies in the workplace, putative victims of a social system that favors women and people of color.
Spooner himself is served beverages by a white robot dressed in a black bowtie. While the white robots are programmed to serve all of humanity, they are disproportionately pictured in the service of women and African-Americans. As a result, the NS-5s invite an anxiety not only about technological tyranny but also white male disempowerment. To dismiss the white slave metaphor as irredeemably racist and reactionary, however, is to overlook the potential alliances between segments of exploited labor.
In other words, the white slave metaphor may function as an appeal to a transracial working-class solidarity directed against capitalist exploitation. This alternative understanding of the white slave metaphor is at least partially consistent with the treatment of the theme in I, Robot. Thus, I, Robot expresses a desire to overcome rather than recover a dominant identity, one that is embodied in the villainous white robot.
Such a strategy allows whiteness to be castigated as despotic at one moment, yet praised as heroic the next. In this sense, both white terror and white slavery are necessary to legitimize the white subject of I, Robot , whose emerging antiracism can only be imagined in the form of a transcendent post-human identity.
The film, in essence, depicts a post-white subject born into servitude and permanently displaced from privilege so as to validate its antiracist politics.
On multiple occasions during I, Robot , Dr. When does personality simulation become the bitter mote of the soul? Sonny functions at once as a caricature of whiteness and also as a liminal figure capable of eliding racial identity altogether.
In the film, disidentification is largely an outcome of the construction and refusal of white terror. Sonny fails to recognize himself in the descriptions that declare the robot dispassionate and threatening.
Late in the film Calvin discovers that Sonny, unlike the other robots, does not have an uplink to USR, a trait that imbues him with independence and free will. An act of disidentification arises from the perceived anxieties of an identity caught between the universal and the particular. This is the driving force of post-whiteness, which is galvanized by a final confrontation between the exceptional robot and the ordinary NS The struggle to find a positive white identity recenters whiteness in ways that undercut the efforts of critical race theorists and activists alike.
I, Robot ends with Sonny perched on a hilltop, poised to emancipate the other white robots. The camera retreats to the horizon, capturing the droves of white NS-5s idling below; before entering the storage units, they turn to look at Sonny.
Offering a clarion call for whites to abandon their unjust privileges, this movement represents a strategic othering of whiteness and points toward the emergence of a post-white subjectivity. Mounted in the background is a Gibson archtop guitar, a popular instrument among jazz and blues artists.
Spooner enjoys motown rather than gangsta rap. As the detective turns to the nightstand, he scoops a spoonful of sweet potato pie. The blackness of the body before us, in other words, is confirmed by the visual and aural accouterments of his apartment and person, and yet the image of blackness presented is manageable and unthreatening.
For the white liberal buddy film to function, Spooner must be black but not too black. As in his other motion pictures, I, Robot casts Smith as the black buddy of white America, here saving humanity from a plotting positronic brain rather than avenging the death of white wingman Harry Connick, Jr. Can you get your money back? Well, there are some ways using which you can get your money back if you are scammed by any binary options broker.
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