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Introduction to Woman-Machine Notion

The main purpose of the essay to analyze the notion of woman-machine in terms of the movies. The two movies selected for this essay are the Terminator 3: Rise of the Machines and the Metropolis 1927- Maria’s Transformation.

Scientific-Fiction connects the concept of technology, figure as well as the concept of the sexual variation. In this context, the body of a woman is imagined as an immediate result in terms of the advancement of science considering the mechanizations in relation to the process of reproduction. Moreover, the apprehensions in relation to the body is supplanted into the body of a woman (Bould et al. 2009). Furthermore, the estimation of the scientific- fiction in terms of the upcoming years is restricted to the extent of the issues related to the concept of reproduction. Considering, these aspects both the selected movies will be explored, wherein powerful women would be determined in the key roles and also the concept of masculism would be analyzed that will be restructured with the help of a parental structure. Additionally, even the The thesis statement here is to “ discuss the difference in the notion of a woman-machine in Maria’s Transformation and Terminator 3: Rise of the Machines.”

Notion of Woman-Machine

The Metropolis 1927 is a movie that was created in the country of Germany in the year 1925/1926 and it was released in the year 1927. The concerned film was made by Fritz Lang and the theme of the movie was on the basis of the book written by his wife Theo Von Harbou. The theme of the movie was on the first woman-machine and it was deliberately made to pose huge competition to the other directors of Hollywood, mostly in the context of technology-oriented expertise. The concerned movie has portrayed woman in terms of developing into an outstanding robot and the whole process was depicted as the transformation of Maria. In this particular movie, Maria, who has been portrayed as a robot is indicative of the terror in terms of the technologies that in turn has been regarded as a terrifying as well as a devilish phenomenon (Bould et al. 2009). In the movie the Metropolis 1927, the process of developing the woman robot has taken into consideration components related to biological birth as well as technological reproduction. Moreover, in this movie the intentions of the male in terms of suitable motherly functions has also been depicted. Furthermore, the concerned movie has depicted the final technology-based imagination of creating a robot without the involvement of a mother in the whole process.

In this context, the plot of the movie Metropolis 1927, revolves around the developing love between a wealthy business man and a middle-class woman named Maria. In the course of Freder being attracted towards Maria, questions in terms of the gap in their classes came into Freder’s mind and in this regards he was also not able to receive an appropriate explanation from his father. Moreover, Freder’s father Rotwang, developed a plan, wherein had the intention to confiscate Maria and substitute here with a duplicate looking Robot and this Rotwang had done in collaboration with a scientist (Cornea, 2007). In this movie, Rotwang recreates Maria in a true sense and represents her to the population of Utopia as a remote dancer in a decaying nightclub. Furthermore, in this part of the movie, Maria was depicted to be dancing in the nightclub completely undressed and this was demonstrated to be seducing to an extent such that it lead to a war, which had created a turbulence in the water-based project of the city, destroying it completely, while leaving the lower part of the city completely flooded (Bould et al. 2009) . In this way the power of woman as machine has been successfully portrayed in the context of the movie.

Furthermore, in the context of this movie, the concept of cyborg has been used, which is known to be a robotic organism, that is an integration between a robot and a living being. The cyborg can also be known as an organism of a true picture of the society as well as component of imagination (Cornea, 2007). Additionally, the reality in terms of a society consists of the different kinds of a relationship prevailing in the society, political settings as well as an imagination that has the potential to transform the whole world. The global woman revolution had also led to the construction of the experience of a woman as well as it revealed the most vital integrated element. Hence, cyborg is known to be a component of imagination as well as that of prevailing concept of woman experience that has also transformed the significance of a woman’s experience in the later part of the twentieth century.

In the modern course of scientific fiction there is a massive use of the cyborgs that includes both the animals as well as the robots at the same point of time. Moreover, even in the course of modern medicine, cyborgs have been used to a great extent, wherein the mating between a machine and an organism is used to a great extent, wherein both are perceived as a coded object (Wolmark et al. 2000). Additionally, the level of closeness as well as the strength was at a level that has never been achieved in the record of sensuality or even sexual desire. However, the duplication in relation to the cyborg has been unpaired from the process of reproduction in relation to a living being. In the context of the concerned movie the desire of a man towards a woman has been clearly portrayed, wherein it has been depicted the naked robot of Maria has also created a turbulence in the night club, hence, even a woman machine has the power to seduce men. Furthermore, the development of Maria as a robot can also be regarded as complete imagination of reproduction without any requirement of a mother.

The “Terminator 3- Rise of the Machines” is known to be another movie in which the notion of a woman-machine has been portrayed very well. The movie was directed by Jonathan Mostow and released in the year 2003. In the concerned movie the concept of a female terminator as well as the power of a machine and the dominance of a female model has also been depicted in this movie. The movie has been set in the context of the year 2023, wherein the only human left in this planet, John Conner was attempted to being killed. Moreover, it was portrayed in the movie that John Conner was the person who was suppose to head a resistance after the end of the world. Furthermore, in the concerned movie, the character of T3 ( terminator 3) was depicted to be a connection between the concept of technology as well as the concept of a female entity. Additionally, it has been portrayed in the movie Terminator 3 that it is a woman only who leads to a cyborg, which in turn is considered to be a framework of an outstanding robot (Cornea, 2013). The woman robot, who has been portrayed in this movie is depicted to be more speedy, robust as well as smarter. The woman-machine portrayed in the concerned movie has been massively shielded and it also consists of multiple built-in ammunition. The woman robot presented in the T3 movie has been created with the use of nanotechnology and it also has the capacity to regulate other machineries in a remote way.

In the movie, the concept of a woman-machine has proved to be an exemplar of technology as well as passion, wherein an absolute instance of a male’s passion, imagination and curiosity in the direction of a woman-machine has been very well portrayed. Moreover, in the concerned movie, the woman-machine has been depicted as an objective of huge and fiery sensuality as well as a technology which can be dangerous and devilish. Furthermore, the concept of a liquid metal has been used in the movie Terminator 3, wherein the woman-machine can regenerate itself and this reconstruction has been linked with the concept of a female giving birth.

However, the point here is to analyze the extent of power of a woman in the near future or the level of threat it can cause in the upcoming time.

Analyzing from this point of view it can said, Maria, who has been portrayed as robot in the Metropolis movie is a destruction causing woman-machine. In this context, it has been seen in the movie that Maria has used her sexually persuading body that has been made perfect through technology to convince the labors of the city to emerge and destruct all the machines that gives power to the Metropolis city (Telotte et al. 2015). Furthermore, it has also been debated that the robot Maria is a destroyer or an antagonist in the movie, because was replicated and placed against the original Maria.

Additionally, analyzing from the point of view of the T-X in the movie Terminator 3, the woman-machine has been sent from the Skynet to make sure there is a huge increase of machineries in the world and this was executed by means of ending the life of the leading members of human aversion which was headed by John Conner in the concerned movie. Furthermore, in the due course of this essay it has been determined that the feminal topic has been customary integrated in the science-fiction movies, which has been portrayed very well in both the selected movies that is the Terminator-3 and the Metropolis. In the year 1990, a different version of a female character was represented in terms of the science fiction movies of that particular time (Telotte et al. 2015) . Additionally, it can also be depicted in terms of the above the selected movies, that the power of a female in the case of a science and fiction movie has been determined to have a more purposeful role as compared to their male counterparts in a normal scenario.

A significant difference has been determined in between both the selected movies that is the Terminator-3 and the Metropolis. In the movie Metropolis, there was a happy ending, wherein Maria and Freder united, even though the woman-machine in the series has lost. While in the movie Terminator 3 the concept of the judgement-day has been depicted wherein the heroes of the entire terminator series lost and the Skynet got its victory (Haraway, 2006), with the woman-machine T-X emerging as a winner and causing a destruction in the world.

In this context, the identification in terms of a woman seems to be of a contrasting, incomplete as well as tactfully planned. Hence it can be said that the concept of being a woman does not mean that they are restricted in any particular way. The stressful segmentations being made in terms of the female supporters, including all the existing wrong lines has led to the concept of a woman indefinite. Furthermore, as per the Cyborg Manifesto 1995, the latest technologies provide the capacity to go beyond the past establishments in relation to the classification as well as the sex of an individual (Cornea, 2013). Additionally, mixed attribute of the cyborg depicts an adequate a metaphor for the purpose of analyzing the varied connection that exists between a person and the technologies that they embrace.

Conclusion on Woman-Machine Notion

Through this essay it can be concluded that the potential of woman machine is not certain, it can either serve the purpose of creating a destruction or even it can serve the purpose of powering the world. It has been clearly depicted from the movie T3 that the heroes of the series had lost against woman-machine by means of demonstrating the idea of the judgement day. While in the case of the movie Metropolis it has been depicted that the woman-machine Maria had finally lost against the character of the real Maria and Freder. Furthermore, it has also been determined in this essay that the seducing nature of woman even if it is a woman-machine has the power to bring destruction in this world. Hence, it can be restated that, “the difference of the notion of a woman-machine has been portrayed, wherein one had devasted the world and emerged as the winner, while the other lost and protagonist in the movie had won.”

References for Woman-Machine Notion

Bould, M., Butler, A., Roberts, A. and Vint, S. eds., (2009). The Routledge companion to science fiction. Routledge. https://books.google.co.in/books?hl=en&lr=&id=y7CNAgAAQBAJ&oi=fnd&pg=PP1&dq=Bould,+Mark+et+al+eds.+(2009)+The+Routledge+Companion+to+Science+Fiction+(Oxford:+Routledge)++Canavan,+Gerry+and+Erik+Carl+Link+(2015)+The+Cambridge+Companion+to+American+Science+Fiction+(Cambridge:+Cambridge+University+Press)+%5Be-book+in+Library%5D&ots=QpArQxUsTy&sig=gQkLjoPcqGirWajlmdTIIGdESgo&redir_esc=y#v=onepage&q&f=false

Cornea, C., (2007). Science fiction cinema. Edinburgh University Press. https://books.google.co.in/books?hl=en&lr=&id=_d8kDQAAQBAJ&oi=fnd&pg=PR4&dq=Cornea,+Christine+(2013)+Science+Fiction+Cinema:+Between+Fantasy+and+Reality+(Edinburgh:+Edinburgh+UP),+75-110+%5Be-book+in+Library%5D&ots=kAOJPrjYDU&sig=rEdnZYCG9KEWhuNH_3pj0lFhtgY&redir_esc=y#v=onepage&q&f=false

Cornea, Christine (2013) Gender Blending and the Feminine Subject in SF film', Science Fiction Cinema: Between Fantasy and Reality (Edinburgh: Edinburgh UP), 145-174. https://edinburgh.universitypressscholarship.com/view/10.3366/edinburgh/9780748624652.001.0001/upso-9780748624652-chapter-5

Haraway, D., (2006). A cyborg manifesto: Science, technology, and socialist-feminism in the late 20th century. In The international handbook of virtual learning environments (pp. 117-158). Springer, Dordrecht. https://link.springer.com/chapter/10.1007/978-1-4020-3803-7_4

Telotte, J.P. and Duchovnay, G. eds., (2015). Science Fiction Double Feature: The Science Fiction Film as Cult Text (Vol. 52). Oxford University Press. https://books.google.co.in/books?hl=en&lr=&id=qbWkDAAAQBAJ&oi=fnd&pg=PR1&dq=Telotte,+J.+P.+ed.+(2015)+Science+Fiction+double+feature:+The+Science+Fiction+as+Cult+Text.+Liverpool:+Liverpool+University+Press+%5Be-book+in+Library&ots=ZEHKk1VQCL&sig=UgOrRtrHmOdVOYN-UMuzN9QiwGE&redir_esc=y#v=onepage&q=Telotte%2C%20J.%20P.%20ed.%20(2015)%20Science%20Fiction%20double%20feature%3A%20The%20Science%20Fiction%20as%20Cult%20Text.%20Liverpool%3A%20Liverpool%20University%20Press%20%5Be-book%20in%20Library&f=false

Wolmark, J., (2000). Cybersexualities: A Reader in Feminist Theory, Cyborgs and Cyberspace. Edinburgh University Press. https://dl.acm.org/doi/abs/10.5555/517871

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