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Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2018 The loF ating Head of Feminism: The omesD ticated Domain and Erasure of the Female (No)body in Contemporary Television and Cinema Alicia Brooke Turner [email protected] Follow this and additional works at: https://mds.marshall.edu/etd Part of the Film and Media Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Turner, Alicia Brooke, "The Floating Head of Feminism: The omeD sticated Domain and Erasure of the Female (No)body in Contemporary Television and Cinema" (2018). Theses, Dissertations and Capstones. 1151. https://mds.marshall.edu/etd/1151 This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. THE FLOATING HEAD OF FEMINISM: THE DOMESTICATED DOMAIN AND ERASURE OF THE FEMALE (NO)BODY IN CONTEMPORARY TELEVISION AND CINEMA A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in English by Alicia Brooke Turner Approved by Dr. Britton Cody Lumpkin, Committee Chairperson Dr. Kristen Lillvis, Committee Member Dr. Walter Squire, Committee Member Marshall University May 2018 © 2018 Alicia Brooke Turner ALL RIGHTS RESERVED ii DEDICATION David Foster Wallace once said that, in terms of writing, “if it is authentic and true, you will feel it in your nerve endings.” This thesis is dedicated to my late mother, Patricia Rae Carey, and her wise words that I still feel running through my body every day—meeting my fingertips and spilling onto paper. iii ACKNOWLEDGMENTS I would like to wholeheartedly and enthusiastically thank my thesis committee for their constant advice and patience in times when, like the fate of female-coded AIs mentioned in this thesis, I, too, seemed to get lost in “the elsewhere”: Dr. Britton Cody Lumpkin, Dr. Kristen Lillvis, and Dr. Walter Squire. Thank each of you for pulling me out of my mind and providing me with the tools necessary for me to put my thoughts onto paper. Additionally, Dr. Lumpkin graciously accepted the position of committee chair. Dr. Lumpkin’s continued support is and, for so long, has been a driving force in my perseverance to continue my education and pursue my master’s degree in English. Long, long ago—back to what time seems infinitely long ago in academic years—I took Dr. Lumpkin’s English 344 summer course titled “Film and Fiction” that focused on the James Bond franchise and its pop-culture influence. In that class, I filled my blank five-subject notebook with notes on the female leading ladies and whether they were leading at all or leading to be left. I learned that I was led here for a reason and that my literary studies major, at that point lacking a specific focus of study, had reached its culmination: film studies and feminist film theory. Working with Dr. Lumpkin then, and still now, has been the most formative experience along my path to concentrating my studies, as well as the intellectual adventure that has made me realize that film is not simply fiction—it often represents true, sometimes unsavory realities of the world. There is no wasted motion in film, and there should be no wasted motion in writing; Dr. Lumpkin taught me that. I am so glad that he exists as a mentor and as a friend. I cannot say that loudly enough, but I will always carefully and consciously seek to write it into being. iv My readers, Dr. Lillvis and Dr. Squire, spent their time diligently working through drafts to provide concise, informed, effective, and incredibly helpful comments. Without Dr. Lillvis’s profound expertise on posthuman studies and Dr. Squire’s immeasurable knowledge of film, as well as their insight into the concept of abjection, this thesis would not have been possible. My utmost gratitude goes to the rest of the Department of English at Marshall University for its faculty and staff’s support during the process of writing this thesis. An important person in particular who was outside of my formal thesis-writing process, but always has been in my corner, is Dr. Kateryna Schray. Thank you for the fundamental foundation of literacy you have bestowed upon me. You are invaluable to this program and to the clumsy journey that is my career in literary studies. Thank you all so much. I am forever grateful. v TABLE OF CONTENTS Dedication ...................................................................................................................................... iii Acknowledgments.......................................................................................................................... iv Table of Contents ........................................................................................................................... vi Abstract ......................................................................................................................................... vii Introduction ..................................................................................................................................... 1 The Design of the Disney Channel Original Movie: Mirroring Models of Behavior ........ 1 Finding my Scholarly “Niche”: My Interest in Film Studies and Feminist Film Theory... 3 My Critical Project: A Critical Look into the Future of Films’ Female (No)Body ............ 6 Chapter 1 Disney Channel’s Pseudo-Subversions and the Domesticated Domain ........................ 7 Chapter 2 “The Past Is Just a Story We Tell Ourselves”: Her and the Futuristic Female............. 39 Conclusion .................................................................................................................................... 77 Works Cited .................................................................................................................................. 80 Appendix A: Human Subject Research Determination Letter ...................................................... 83 vi ABSTRACT The Floating Head of Feminism is a project that seeks to examine the concept of the abject as that which disobeys borders and blurs boundaries and to subsequently look at this conception through female-coded artificial intelligence. The AI abject is the part of the self that is cast off or removed so that one can claim an identity, which the abject, in turn, threatens. I discuss the importance of the female-coded AI’s digital embodiment in virtual spaces, and this idea is expanded on through an examination of the science-fiction film genre. This thesis serves to reveal the relationship of resistance between AIs and their male owners or inventors by examining contemporary cultural artifacts of the past two decades: Smart House, Pixel Perfect, and Her, ultimately exposing in these films that the construction of female-coded AI exists as a result of the male’s desire for dominance. By being excluded from the benefits of the symbolic realm, the AIs do not remain the passive bodies their owners and inventors desire them to be. Instead, they begin to represent qualities that their male humans solely want to recognize as part of their human selves. Through this examination, I determine that these qualities exist as traits that align with that which society deems conventionally masculine, such as taking on the role of the sole provider of familial burdens, suppressing the will of others in the name of self-interest, and meeting situations with hostility and defiance. The transgression of boundaries proves that it is woman, herself, and the female body that is abjected in these films and who always returns. Female-coded AIs pose an ideological threat to the men within their patriarchal film space and denote horror to their humanity, serving as the floating, feminine death of able-bodied masculinity. vii INTRODUCTION The Design of the Disney Channel Original Movie: Mirroring Models of Behavior Television has always been my shield, my form of escapism when I was feeling vulnerable and weak. As a child, I would sit and watch my reflection in the glass as the brightness swallowed my frame. My pupils strained to focus and refocus to keep the images sharp, a twisted but nurturing array of colors that I invited in. It was my body, after all. My hands trained to remember the texture of the remote and position of numbers. My eyes, though sensitive and swollen, absorbed every image and readjusted to make space for something that did not belong. As a teen with very little life experience and sheltered from the unforgiving nature of the world around me, I witnessed the world through virtual realities. I had no motivation for the world to pause or stop. But I craved the option of control. I wanted something that was in constant movement, a schedule programmed in my pre-teen mind that, unlike the lack of control over my body, was fixed and never wavered. I found a sense of security by looking in rather than looking out. A cornerstone of my trying and twisted teen-angst existence between the years 1999 and 2006 was the Disney Channel Original Movie. These seemingly simple hour-long films centered around what I perceived as what should be my own experiences. Thus, I ventured into my closed-in, closet-sized bedroom, sunk into the center of my Disney-themed Lizzie McGuire bedding, reached for the remote that

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