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The direct manipulation of human genes, or gene therapy, represents one of the major bioethical issues facing society as it heads into the twenty-first century. The 1997 sf film "GATTACA" projects, from today's limited use of gene therapy, a fictional world where genetic manipulation of humans is encouraged. Essentially, the filmmakers act as bioethicists, forecasting the consequences of unrestricted human-gene therapy. The construction of "GATTACA" as a bioethical text centers around three prominent issues: 1) genetic discrimination, 2) the cultural implications of predictive genetics, and 3) the loss of human diversity. The film is unique in that it does not fault the technology itself, but rather questions societal acceptance of an ideology that holds that humans are nothing more than the sum of their genes (genetic determinism). In the language of Bruno Latour, genetic determinism becomes a closed "black box" once it is taken for granted and accepted as accurate and useful. In essence, "GATTACA" is a film that tries to break open the black box that has been constructed by scientists who portray a world dominated by genes. The genetics-research community's negative reaction to "GATTACA" indicates the stake that human geneticists have in the depiction of their science in popular culture.
in:https://www.jstor.org/stable/4240876
