Fantastic Voyage, a 1966 Hollywood science fiction film based on a screenplay written by Harry Kleiner, is often associated with contemporary nanotechnology imaginings. In this article, I draw on ethnographic research conducted within a new nanoengineering department and undergraduate major to show how this film is deployed to produce a particular disciplinary and professional identity for nanoengineering. By juxtaposing my analysis of how the film is framed in the department with a close reading of the film itself, I show how both inclusions and exclusions constitute the "nano dream," a boundary-drawing practice that constructs the nanoengineer as an intrinsically ethical identity. I further assess how the constitutive exclusions of a cultural object taken up within an epistemic community can potentially serve as the starting points for intervention-in this case, a critical pedagogy that posits a "critical nanoengineering" practice.
