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FEMALE CODED ARTIFICIAL BEINGS in SELECTED AMERICAN SCIENCE FICTION FILMS, 1960S-2000S

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FEMALE CODED ARTIFICIAL BEINGS in SELECTED AMERICAN SCIENCE FICTION FILMS, 1960S-2000S Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature FEMALE CODED ARTIFICIAL BEINGS IN SELECTED AMERICAN SCIENCE FICTION FILMS, 1960s-2000s Aylin Pekanık Master’s Thesis Ankara, 2019 FEMALE CODED ARTIFICIAL BEINGS IN SELECTED AMERICAN SCIENCE FICTION FILMS, 1960s-2000s Aylin Pekanık Hacettepe University Graduate School of Social Sciences Department of American Culture and Literature Master’s Thesis Ankara, 2019 iv to my beloved family, blood and chosen... v ACKNOWLEDGEMENTS I would like to express my deepest appreciation and gratitude to a great number of people who made this thesis possible. First and foremost, I wish to thank my advisor Assist. Prof. Dr. Cem KILIÇARSLAN whose guidance and insight allowed me to understand my own point of view and see new and important perspectives during the development of this work. Without his efforts, this work would not have been completed. I wish to thank all of the professors in Hacettepe University Department of American Culture and Literature for providing me with the necessary analytical insight and courage which assisted me in this research. I am deeply grateful to my family who supported and encouraged me in every step of my academic journey. I am forever indebted to my role models Nurcan PEKANIK and Recep PEKANIK for their constant love, support, and faith in me. I want to thank Sam for his silent support which helped and calmed me during stressful times. Lastly, I wish to thank Aybike Sena AKGÜL for always being a source of joy, peace, support, and inspiration in my life, for this work would not have been possible without her. vi ÖZET PEKANIK, Aylin. “1960lar-2000ler Dönemi Amerikan Bilim Kurgu Filmlerinde Kadın Olarak Kodlanan Yapay Varlıklar.” Yüksek Lisans Tezi, Ankara, 2019. Bu tez Norman Taurog’un Dr.​ Goldfoot and the Bikini Machine (1965),​ Duncan Gibbins’in Eve​ of Destruction (1991),​ Bryan Forbes’un The​ Stepford Wives (1975),​ Frank Oz’un The​ Stepford Wives (2004)​ ,​ Alex​ Garland’ın Ex​ Machina (2014)​ ve Spike Jonze’un Her​ (2013)​ filmlerindeki kadın olarak kodlanmış (biyolojik cinsiyeti olmasa bile cinsiyet rolleri atanmış) yapay varlıkların ve bilim kurgu kapsamında neyi temsil ettiklerinin bir analizidir. Yapay varlık kavramına, insanlığın durumu, fiziksel özerklik ve insan gelişimi için bir metafor olarak odaklanılacaktır. Erkek olarak kodlanan yapay varlıklar insan ırkı hakkında tarafsız bir yorum olarak kullanılabilirken, kadın olarak kodlanan yapay varlıkların kadınlarla ilgili belirli ideallerin bir dışavurumu olarak sunulmasının bu metaforları nasıl yansıttığı incelenecektir. Bu örnekler incelenerek, kadın olarak kodlanan yapay varlık tasvirlerinin kadının ataerkil düşüncede gelecekteki ideal yerinin ve erkek bakışının ürünü olduğu savunulacaktır. Kadın imgeleri ve seksapelliği öne çıkaran tasvirler, erkek bakışına göre “mükemmel kadın” idealini desteklemekte ve kadın vücudunu metaforik ve fiziksel olarak nesneleştirilmektedir. Bu tezde, kadın olarak kodlanan yapay karakterlerin böyle gösterilmesinin insan rolünü geliştirme amacına aykırı olduğu ve bu yaklaşımın insan normlarının sınırlarından bağımsız var olma potansiyellerinin önüne geçtiği savunulacak ve örnekler üzerinden gösterilecektir. Anahtar Sözcükler Robot, Android, Fembot, Jinoid, Yapay Zeka, Cinsiyet, Norman Taurog, Bryan Forbes, Frank Oz, Spike Jonze, Alex Garland vii ABSTRACT PEKANIK, Aylin. “Female Coded Artificial Beings In Selected American Science Fiction Films, 1960s-2000s.” Master’s Thesis, Ankara, 2019. This thesis is an analysis of depictions of “female coded” (being assigned gender traits even in the absence of a biological sex) artificial beings in Norman Taurog’s Dr.​ Goldfoot and the Bikini Machine (1965),​ Duncan Gibbins’ Eve​ of Destruction (1991),​ Bryan Forbes’ The​ Stepford Wives (1975),​ Frank Oz’s The​ Stepford Wives (2004),​ Alex Garland’s Ex​ Machina (2014)​ and Spike Jonze’s Her​ (2013)​ and what they represent within the scope of science fiction. This thesis will focus on the concept of the artificial being as a metaphor for the human condition, bodily autonomy, and human progress. It will analyze how the depictions of male-coded artificial beings function as universal commentary about humankind in general while female coded artificial beings represent manifestations of specific ideas about women. Through these examples, this study will argue that the portrayal of female coded artificial beings is a product of the male gaze and the idealized place of women in society according to patriarchal standards. The visual portrayals, which include female signifiers and sexualized visual representations, further promote the concept of “the perfect woman” as understood from the point of view of the male gaze and the gendered objectification of female body in the metaphorical and physical senses. It will further argue that such presentation of artificial characters go against the purpose of transgressing the limitations of the human condition and that this approach hinders their potential to exist outside the boundaries of human structures and standards. Key Words Robot, Android, Fembot, Gynoid, A.I., Gender, Norman Taurog, Bryan Forbes, Frank Oz, Spike Jonze, Alex Garland viii TABLE OF CONTENTS KABUL VE ONAY……………………………………………………………………...i​ YAYIMLAMA VE FİKRİ MÜLKİYET BEYANLARI HAKLARI……....….……ii​ ETİK BEYAN………………………………………………………………..…..…….iii​ DEDICATION…………………………………………………………………………iv​ ACKNOWLEDGEMENTS ​……………………………………………......….….…...v ÖZET………………………………………………………………………...….….…..vi​ ABSTRACT…………………………………………...…………………………........vii​ TABLE OF CONTENTS ……………………………...……………………....…….viii​ INTRODUCTION………………………………………...……………...……..……...1​ CHAPTER I: THE ARTIFICIAL BEING AS SHELL…..………………………...23​ 1.1. Recreating the Female Form Through the Male Gaze……....……….…….23 1.2. The Beginnings of “The Construction of a Woman” in Dr.​ Goldfoot and the Bikini Machine (1965)………………………………………………………….33​ 1.3. The Femme Fatale in Artificial Form in Eve​ of Destruction (1991)............45​ CHAPTER II: THE ARTIFICIAL BEING AS HUMAN CONDITION..…..…….56​ 2.1. Imagining the Artificial Through the Human Image………..……...….…..56 2.2. The Clash of Real vs. Perfect Women in The​ Stepford Wives (1975)..........65​ 2.3. Updating the Context of Oppression in ​The Stepford Wives ​(2004).........77 CHAPTER III: THE ARTIFICIAL BEING AS INDIVIDUAL…....……………...90​ 3.1. Artificial Beings as Sentient Individuals……………………...…………...90 3.2. The Question of Consciousness and Autonomy in Ex​ Machina (2014).…..99​ 3.3. The Clash of Human Intimacy and Selfhood in Her​ ​(2013)....…………..110 CONCLUSION………………………...…………………………………………….123​ FIGURES……………………………...……………………………………………...132​ FILMOGRAPHY………………………..…...…………………………...…………155​ WORKS CITED……………...……………………………………………………...156​ APPENDIX 1: ORIGINALITY REPORT…………………………………..……..180​ APPENDIX 2: ETHICS BOARD WAIVER FORM…………...…………….……182​ 1 INTRODUCTION Never be limited by other people’s limited imaginations. Mae Jemison The idea of constructing artificial beings has been considered a common theme in science fiction history (Roberts 82), not only because it is visually interesting but also because it is a concept rich in thematic and symbolic potential. The issue can be enhanced to explore questions concerning the human condition and be utilized to reach extensive probabilities regarding the question of what it means to be human. In its simplest form, it is a way of replicating the human race or the human experience but with additional improvements. However, the concept of improving human beings varies greatly depending on the author. Like any other concept, the concept of artificial beings 1 2 3 4 such as robots, androids, cyborgs, and artificial intelligence (AI) have been limited by the boundaries of the artists who utilize them and consequently, by the conventions that these artists assumed from the society in which they live in, resulting in the creation of different types of artificial beings for different purposes. Some of these beings are presented as simple servants (Trappl et al. 97), others as human replicas (Simon) and some are allowed to have self-awareness. However, these distinctions become even more pronounced regarding the appearance of the characters. The artificial characters 5 are almost always gender coded and are presented according to the gender binary of male/female. While the male-coded ones are able to represent a more neutral, universal expression of human condition, female coded ones tend to represent a more narrow understanding of human women in society. 1 Robot​ is defined as “a machine that resembles a living creature in being capable of moving independently and performing complex actions” (“Robot”). 2 Androids​ are robots which have specifically human appearances (“Android”). 3 Short​ for cybernetic organism, cyborg refers to a person “whose physical abilities are extended beyond normal human limitations by mechanical elements built into the body” (“Cyborg”). 4 Artificial​ intelligence refers to “the ability of a digital computer or computer-controlled robot to perform tasks commonly associated with intelligent beings” (Copeland). 5 Gender coding is assigning particular traits or behaviors exclusively or predominantly to males or females (Nugent). 2 The representation of female coded artificial beings have a certain pattern, such as objectified visuals, narrative themes of oppression and attempts at progressing beyond human nature which can be observed in many works both in literature and cinema. This thesis
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