Abstract
Michael Bay's Transformers (2007) fetishizes technology and represents automobiles as vehicles of sexuality. Despite being aliens/others, transformers collectively function as a channel for technomasculine desire and American socio-cultural production. The film belies its popcorn veneer in spite of authorial and directorial intent, depicting an autogeddon reminiscent of J. G. Ballard's Crash (1973), which eroticizes the violent process of automutilation. Transformers do likewise as they repeatedly clash with (i.e., crash into) one another in an agential effort to reify male power and identity.
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