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M.A Thesis- Aaron Misener- 0759660- 2017.Pdf
“Constructing a New Femininity”: Popular Film and the Effects of Technological Gender Aaron Misener—MA Thesis—English—McMaster University “Constructing a New Femininity”: Popular Film and the Effects of Technological Gender Aaron Misener, B.A. (Hons.) A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University ©Copyright by Aaron Misener, December 2016 ii Aaron Misener—MA Thesis—English—McMaster University MASTER OF ARTS (2016) McMaster University (English) Hamilton, Ontario TITLE: “Constructing a New Femininity”: Popular Film and the Effects of Technological Gender AUTHOR: Aaron Misener, B.A. Hons. (McMaster University) SUPERVISOR: Dr. Anne Savage NUMBER OF PAGES: i-v, 1-74 iii Aaron Misener—MA Thesis—English—McMaster University Abstract: This project applies critical media and gender theories to the relatively unexplored social space where technology and subjectivity meet. Taking popular film as a form of public pedagogy, the project implicates unquestioned structures of patriarchal control in shaping the development and depiction of robotic bodies. The project was spurred from a decline in critical discourse surrounding technology’s potential to upset binaried gender constructions, and the increasingly simplified depictions of female-shaped robots (gynoids) as proxies for actual women. By critically engaging assumptions of gender when applied to technology, the project recontextualizes fundamental theories in contemporary popular film. iv Aaron Misener—MA Thesis—English—McMaster University Acknowledgements: This project has seen the birth of my daughter, and the death of my mother. My most elated joys and the deepest sorrows that I have yet known. It has both anchored me, and left me hopelessly lost. -
The Second Try
The Second Try Jimmy Wolk Chapter I: The 12th Shinji Ikari, Third Children and designated pilot of Evangelion Unit-01, had just reached a new sync- ratio record. And as Rei Ayanami suspected, the former holder of this record, known as Asuka Langley Soryu, wasn't very pleased with this. So she didn't pay much attention to the rants of the Second Children, who made obviously ironical statements about the 'great, invincible Shinji' while holding herself; swaying in front of her locker. Instead, Rei finished changing from the plugsuit the pilots were supposed to wear during their time in the entry plugs of the EVAs or the test plugs, into her casual school uniform. As soon as she was done, she went silently for the door of the female pilots' changing room, whispered "Sayonara" and left. With the First Children gone, Asuka could finally release all the feelings that tensed up the last hours in a powerful... ...sigh. She still had problems to play this charade in front of everyone, and it seemed to only grow harder. She wasn't sure if she would be able to keep it up much longer at all. Not while these thoughts disturbed her mind; thoughts of all the things that happened... or will happen soon. Lost in her worries, she failed to notice someone entering the room, sneaking up to her and suddenly embracing her from behind; encircling her arms with his own. She tensed up noticeably as she felt the touch, even though (or maybe just because) she knew exactly who the stranger was. -
THESIS ANXIETIES and ARTIFICIAL WOMEN: DISASSEMBLING the POP CULTURE GYNOID Submitted by Carly Fabian Department of Communicati
THESIS ANXIETIES AND ARTIFICIAL WOMEN: DISASSEMBLING THE POP CULTURE GYNOID Submitted by Carly Fabian Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2018 Master’s Committee: Advisor: Katie L. Gibson Kit Hughes Kristina Quynn Copyright by Carly Leilani Fabian 2018 All Rights Reserved ABSTRACT ANXIETIES AND ARTIFICIAL WOMEN: DISASSEMBLING THE POP CULTURE GYNOID This thesis analyzes the cultural meanings of the feminine-presenting robot, or gynoid, in three popular sci-fi texts: The Stepford Wives (1975), Ex Machina (2013), and Westworld (2017). Centralizing a critical feminist rhetorical approach, this thesis outlines the symbolic meaning of gynoids as representing cultural anxieties about women and technology historically and in each case study. This thesis draws from rhetorical analyses of media, sci-fi studies, and previously articulated meanings of the gynoid in order to discern how each text interacts with the gendered and technological concerns it presents. The author assesses how the text equips—or fails to equip—the public audience with motives for addressing those concerns. Prior to analysis, each chapter synthesizes popular and scholarly criticisms of the film or series and interacts with their temporal contexts. Each chapter unearths a unique interaction with the meanings of gynoid: The Stepford Wives performs necrophilic fetishism to alleviate anxieties about the Women’s Liberation Movement; Ex Machina redirects technological anxieties towards the surveilling practices of tech industries, simultaneously punishing exploitive masculine fantasies; Westworld utilizes fantasies and anxieties cyclically in order to maximize its serial potential and appeal to impulses of its viewership, ultimately prescribing a rhetorical placebo. -
IHBB Asian Championships: Sports and Entertainment Bee: Round 1
IHBB Asian Championships: Sports and Entertainment Bee: Round 1 1. This man missed his team’s final penalty in a quarterfinal shootout against the United Arab Emirates, causing his team to crash out of the 2015 Asian Cup. In the service of his club, he once informed the press that he would score two goals in the Revierderby before getting exactly that amount against rivals Schalke 04. This man became the first Asian to net a hat trick in the Premiership after he was signed by Manchester United in 2012, but has since returned to Germany. For the point, name this Borussia Dortmund midfielder from Japan. ANSWER: Shinji Kagawa 2. This band appeared on several episodes of Full House, one of which saw them perform the song “Forever” with John Stamos. One song by the Barenaked Ladies is titled for a member of this band and references a story about that man spending time with a psychologist over his mental illness. Cleveland Cavaliers forward Kevin Love is a relative of Mike Love, a member of this band whose early hits included “Surfin’ Safari” and “ Little Deuce Coupe”. This band later referenced several Caribbean locations like Aruba and Jamaica in their hit song “Kokomo”. For the points, name this legendary rock act whose other hits have included “Good Vibrations” and “I Get Around”. ANSWER: The Beach Boys 3. In 2016, a character from this franchise received a huge 25 meter statue in Shanghai courtesy of ChinaJoy expo, setting a Guinness record as the largest of its’ kind. The plea “try smiling” is uttered by a character in this franchise after his friend nearly dies in a fight against Ramiel, a shapeshifting blue octahedron known as the Fifth Angel. -
Satisfaction Guaranteed™ the Pleasure Bot, the Gynoid, The
Satisfaction Guaranteed™ The Pleasure Bot, the Gynoid, the Electric-Gigolo, or my personal favorite the Romeo Droid are just some of Science Fiction's contributions to the development of the android as sex worker. Notably (and as any Sci-fi aficionado would remind us) such technological foresight is often a precursor to our own - not too distant future. It will therefore come as no surprise that the development of artificial intelligence and virtual reality are considered to be the missing link within the sex industry and the manufacture of technologically-enhanced products and experiences. Similarly, many esteemed futurologists are predicting that by 2050 (not 2049) artificial intelligence will have become so integrated within society that it will be commonplace for humans to have sex with robots… Now scrub that image out of your head and let’s remind ourselves that all technology (if we listen to Charlie Brooker) should come with a warning sign. Sexnology (that’s Sex + Technology) is probably pretty high up there on the cautionary list, but whether we like it or not people ‘The robots are coming’ – no pun intended! Actually the robots (those of a sexual nature) have already arrived, although calling them robots may be a little premature. Especially when considering how film has created expectations of human resemblance, levels of functionality and in this context modes of interaction. The pursuit of creating in our own image has historically unearthed many underlying questions in both fiction and reality about what it means to be human. During such times, moral implications may surface although history also tells us that human traits such as the desire for power and control often subsume any humane/humanoid considerations. -
Collective Memory and the Constructio
Liljedahl: Recalling the (Afro)Future: Collective Memory and the Constructio RECALLING THE (AFRO)FUTURE: COLLECTIVE MEMORY AND THE CONSTRUCTION OF SUBVERSIVE MEANINGS IN JANELLE MONÁE’S METROPOLIS-SUITES Everywhere, the “street” is considered the ground and guarantee of all reality, a compulsory logic explaining all Black Music, conveniently mishearing antisocial surrealism as social realism. Here sound is unglued from such obligations, until it eludes all social responsibility, thereby accentuating its unreality principle. (Eshun 1998: -41) When we listen to music in a non-live setting, we do so via some form of audio reproduction technology. To most listeners, the significant part about the technology is not the technology itself but the data (music) it stores and reverberates into our ears (Sofia 2000). Most of these listeners have memories tied to their favourite songs (DeNora 2000) but if the music is at the centre of the history of a people, can the songs themselves be seen as a form of recollection? In this paper, I suggest that sound reproduction technology can be read as a storage of memories in the context of Black American popular music. I will turn my attention to the critical potential of Afrofuturist narratives in the field of memory- technology in order to focus on how collective memory is performed as Afrofuturist technology in Black American popular music, specifically in the music of Janelle Monáe. At play in the theoretical backdrop of this article are two key concepts: Signifyin(g) and collective memory, the first of which I will describe in simplified terms, while the latter warrants a more thorough discussion. -
Cyborg Art: an Explorative and Critical Inquiry Into Corporeal Human-Technology Convergence
http://waikato.researchgateway.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. Cyborg Art: An Explorative and Critical Inquiry into Corporeal Human-Technology Convergence A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Waikato, by Elizabeth Margaretha Borst Faculty of Arts and Social Sciences © Elizabeth M. Borst, 2009 All rights reserved. This work may not be reproduced without permission of the author. University of Waikato, 2009 i ii Abstract This thesis introduces and examines the undervalued concept of corporeal human- technology interface art, or ‘cyborg art’, which describes literal, figural and metaphorical representations of increasing body and technology integration. The transforming (post)human being is therefore the focus; who we are today, and who or what we may become as humanity increasingly interfaces with technology. Theoretical analysis of cyborg imagery centres on the science fiction domain, in particular film and television, as opposed to art. -
Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Tsukuba Repository 〈Articles〉Beyond 2015 : Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion 著者 TSANG Gabriel F.Y. journal or Journal of International and advanced Japanese publication title studies number 8 page range 35-43 year 2016-03 URL http://doi.org/10.15068/00146740 © 2016 Journal of International and Advanced Japanese Studies Vol. 8, February 2016, pp. 35–43 Master’s and Doctoral Program in International and Advanced Japanese Studies Graduate School of Humanities and Social Sciences, University of Tsukuba Article Beyond 2015: Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion Gabriel F. Y. TSANG King’s College London, Department of Comparative Literature, Ph.D. Student Generally categorized as low art, Japanese manga and anime draw insufficient overseas critical attention, regardless of their enormous cultural influence in East Asia. Their popularity not simply proved the success of cultural industrialization in Japan, but also marks a series of local phenomena, reflecting social dynamicity and complexity, that deserve interdisciplinary analysis. During the lost decade in the 1990s, which many scholars studied with economic accent (Katz 1998, Grimes 2001, Lincoln 2001, Amyx 2004, Beason and Patterson 2004, Rosenbluth and Thies 2010), manga and anime industry in Japan entered its golden age. The publication and broadcast of some remarkable works, such as Dragon Ball, Sailor Moon, Crayon Shin-chan and Slam Dunk, not only helped generate huge income (nearly 600 billion yen earned in the manga market in 1995) that alleviated economic depression, but also distracted popular focus from the urge of demythologising national growth. -
Gynoids-Female Robots
Gynoids: The Impact of Female Robots in Real Life. ENG 2420 Science Fiction Prof. Jill Belli Joselin Campoverde Fall 2016 Overview of Project Do you remember any Discuss the science science fiction film where Explore how this term fiction term of “cyborg” or a robotic machine has a has emerged in real-live “fembot” and its origin. humanoid female look? robotic design. Investigate how female- Analyze the positive and appearing robots are a motive negative impact of these of debate and controversy in female robotic technologies in today’s society. the present day What is the term “fembot” or “gynoid” ? • Fembots are used to refer to robotic humanoids that resembles a female human form. • Gynoid is more modern term in science fiction to describe a fembot (robot/android in female form). Historical Background • Robotess is originally considered the oldest female-specific term (1921). • The term “fembot” was first introduced in the science fiction genre through the TV series The Bionic Woman(1976). • Fembot term was used in the movie “Austin Powers” where stereotypical women were robots designed to seduce the protagonist and kill him. Historical Background • The recent term introduced in the science fiction genre to describe a female robot is known as gynoid. • This term was introduced by Gwyneth Jones in her 1985 novel Divine Endurance to describe a robot slave character in a futuristic China, that is judged by her beauty. Gynoids or Fembots in Science Fiction • From science fiction literature to films and movies, these female humanoid have become existent the early ages. Some examples of famous fembots: • Metropolis (Fritz Lang, Germany, 1926) • The Bride of Frankenstein (James Whale, USA, 1935) • Cherry 2000 (1987), two version of Stepford Wives, Westworld (1973) and Logan’s Run (1976). -
201606-Complete-Captivity-Issue.Pdf
Issue 2016 58 Gender and Captivity Edited by Prof. Dr. Beate Neumeier ISSN 1613-1878 Editor About Prof. Dr. Beate Neumeier Gender forum is an online, peer reviewed academic University of Cologne journal dedicated to the discussion of gender issues. As English Department an electronic journal, gender forum offers a free-of- Albertus-Magnus-Platz charge platform for the discussion of gender-related D-50923 Köln/Cologne topics in the fields of literary and cultural production, Germany media and the arts as well as politics, the natural sciences, medicine, the law, religion and philosophy. Tel +49-(0)221-470 2284 Inaugurated by Prof. Dr. Beate Neumeier in 2002, the Fax +49-(0)221-470 6725 quarterly issues of the journal have focused on a email: [email protected] multitude of questions from different theoretical perspectives of feminist criticism, queer theory, and masculinity studies. gender forum also includes reviews Editorial Office and occasionally interviews, fictional pieces and poetry Laura-Marie Schnitzler, MA with a gender studies angle. Sarah Youssef, MA Christian Zeitz (General Assistant, Reviews) Opinions expressed in articles published in gender forum are those of individual authors and not necessarily Tel.: +49-(0)221-470 3030/3035 endorsed by the editors of gender forum. email: [email protected] Submissions Editorial Board Target articles should conform to current MLA Style (8th Prof. Dr. Mita Banerjee, edition) and should be between 5,000 and 8,000 words in Johannes Gutenberg University Mainz (Germany) length. Please make sure to number your paragraphs Prof. Dr. Nilufer E. Bharucha, and include a bio-blurb and an abstract of roughly 300 University of Mumbai (India) words. -
Adeptus Evangelion, and Not a Game Master, Look No Further! This Chapter, and Indeed This Entire Book, Is Intended Only for Game Masters
We do not own Evangelion™, Dark Heresy™, Warhammer 40K™, or any other intellectual property to be found within this work in any way. We do not claim ownership of any of the art that appears in this work. Instead, all credit regarding the art should go to the artists of Gainax, or the artists listed below. This work is not to be distributed for money to anyone under any circumstances. However, while we may not be able to claim ownership, it would be unfair to refuse to give credit where credit is due to the following: CREDITS Project Coordination: Black Mesa Janitor (RHM), Elpizo (Sachiel) Development and Playtesting: Blast Artists: Writing and Editing: ClamPaste Anonymous Anonymous Feldion (RPSS) bluewine Blast HLeviathan (GRGR III) Drawfag X-09 !W7.CkkM01U CapnKeene Karada Guardsman Harry Dr. Baron Von Evil Satan CapnKeene Jebus (8546514) Dial J. S. Cervini Feldion (RPSS) Mr_Rage LDT-A (RHK) Gilgamesh, King of Heroes Latooni Mastermind Omega !EnkiduOJiw!!fXOkC1tdv81 LawfulNice vendredi Jebus LDT-A (RHK) Vincent “Siege” Angerossa Kamen macrophage Karada Mastemind Omega Special Thanks: Mari Touhou Homebrew Guy Anonymous Masocristy (OlympusMons) Archivist Mordegald Zhuren You, for your continued Protagonist support. Sorain Highwind Yue ZZEva Table of Contents Weaving a Story 1 Anomalous Materials 33 Setting and Tone 2 Unique Armory Contents 33 Keeping your Players Interested 2 Experimental N2 Reactor 33 Mood and Lethality 3 Cold Blooded 34 Extra Material 4 Free Range Evangelions 34 Pacing your Stride 4 Fly me to the Moon 35 In Conclusion -
The Cultural Context and the Interpretation of Japanese 'Lolita
Intercultural Communication Studies XXIII: 2 (2014) HINTON The Cultural Context and the Interpretation of Japanese ‘Lolita Complex’ Style Anime Perry R. HINTON Independent Academic Researcher, UK Abstract: Japanese animated films or anime have been popular in the West since the early 1990s. However, media interest in anime (particularly in Britain) has tended to focus on negative representations of anime concerning violence, sexuality and young girls. The current paper undertakes an examination of the genre of ‘Lolita complex’ or rorikon anime, the focus of these concerns. It is argued that the term ‘Lolita’ has a culturally specific meaning and that it has a different meaning in Western culture to that in Japan. This has led to a misperception of aspects of Japanese society and its cultural products such as anime. Furthermore it is argued that rorikon anime reflects teenage anxieties about the adult world, and changes in society and gender roles rather than perverse male sexual desire. An examination of the elements of rorikon anime shows that, rather than the product of a cultural ‘other’, it reflects features common across Japanese and Western cultures. Keywords: Japanese anime, Lolita complex, rorikon, shoujo, British media, cultural context, gender roles 1. Introduction One of the key aspects of globalization is the ready availability of the cultural products of one country to other nations round the world. The development of the internet as a global marketplace and its social media role for creating communities of fans of these products has further enhanced this cross-cultural communication. This can be seen most clearly in the popularity of Japanese popular culture (in terms of a range of products such as animated films (anime), comic books (manga), video games and toys) in Western countries.