Viral

In chapter 3 of Digitizing Race, Lisa Nakamura offers an interesting dissection into The Matrix trilogy in regards to race, power, and representation.

In pages 99-101, Nakamura dives into 'whiteness' as a construct that doesn't represent white, but what is normal. She identifies the theme that I'll attempt to mildly explore before I'm done here: the evil white viral spread, and later the relationship of white and black to one another in this type of film. This is very well represented, as she points out, in the Matrix where you have the "old white prick" architect of the Matrix (an illusion designed to essentially fool all humanity so that they lay as docile prey to the machines who seek their BTU's for energy), and the white Agent Smith who is himself a blight upon the system - a infinitely multiplying virus who is enemies to both the rebellion and the machines.

In the Matrix, white, or whiteness, is represented in a very negative light. While white has dual representation and also represents the modern and cleanliness, it is generally represented as evil while black is the organic, the "mojo", and the authentic. Even though Neo's whiteness is debatable (he certainly looks white enough), he disassociates himself with whiteness in his reference to the Architect as being an "old white prick" and in his obvious opposite polarity to Agent Smith, Neo's powerful counterpart throughout most of the trilogy.

While most agents were originally designed by the machines to work as their servants as programs within the matrix (and i should point out that they're all white men), agent Smith broke free as is for most of the trilogy a virus in the system. Still, he is still white and still represented as an evil virus. He also brings up an interesting thing to look at in how he can infinitely replicate himself. This is an interesting theme to look at in a different sci-fi film series: Star Wars. Even though Nakamura states that things have come a long way since Return of the Jedi, I think Star Wars films are still good examples to reference in this context.

In Star Wars, most specifically episodes 4, 5, and 6 (the ones with Vader), you have the agent Smiths in the form of stormtroopers. They're all adorned with the exact same uniform - a white plastic looking full-body suit. No matter how many stormtroopers die - and oh how they do die in droves - there are always more stormtroopers to come in seemingly from an infinite supply of them to bust the parties of the rebellion. They are the limitlessly duplicatable virus in the Stat Wars saga. They are servants of the Empire and the 'dark side'. Of course, in episode 2, the Clone Wars, the clones in that movie are of color, but are still part of the pale wave of the Empire. Sure, it can be a stretch.

The most powerful wielder of the dark side of the force is embodied within the iron-fist ruler of the Empire, the Emperor. He is unnaturally pale, his form rendered lifeless and deformed from the corruption of evil. This is very well shown in his obviously exaggerated whiteness. His cannon fodder stormtroopers are also white, and the technology associated with his Empire is sharp, sterile, and cold in its aesthetic, which is fitting with his character and vision for the galaxy.

His right hand man, Darth Vader, is in obvious contrast to the character of the Emperor. Of course, they are both evil and bent on galactic domination, their styles clearly contrast. Compared to the Emperor, Vader is much more direct and aggressive, his methods much simpler. The Emperor you could say is the brains of the operation, more behind the scenes and cunning. Of the two, he holds the true power, and Vader, while powerful, takes order. Vader is coincidentally dressed in a pure black suit which contrasts with basically the rest of the pristine Empire aesthetic. He stands out in any room. Its also good to point out how Vader came into his role; He was saved by the Empire's technology. He was made who he was and given life because he was turned into a cyborg, his body a product of technology, not because of his own technological prowess or access. I thought that was an interesting little thing, especially in light of the relationships between people of color and level of technological access in the Matrix Trilogy.

In these ways, these sets of films are related, and the interesting constructs of whiteness and blackness can be seen in their representation and in their relationship to one another.

I hope this all made sense. It was pretty hard putting together a supportive argument when Nakamura said so little that a fully agree with in chapter 3. Even so, its still an engaging and definitely interesting read.