Replicantes o sumisas: el cyborg femenino desde "Blade Runner"

Abstract

"Blade Runner" (Scott, dir., 1982) updates the two main archetypes of artificial women that have been dominant in science fiction cinema. The first one is rooted in the myth of Pygmalion and his desire to create an ideal woman. The second one\ndescribes a potentially dangerous model inspired by the robot that comes to life in "Metropolis" (Lang, dir.,1927). This article examines how these trends, regardless of their evolution throughout the history of cinema, are still applicable to contemporary\nscience fiction films featuring female cyborgs. Tied to gender cliches of contemporary cinema, the Terminatrix in "Terminator 3" (Mostow, dir., 2003), the exemplary housewives in "The Stepford Wives" (Oz., 2004) or the little girl in "Eva" (Maíllo, dir., 2011), link sexuality to a certain degree of autonomy. Only when the plot avoids representing the cyborg woman as a sex object these two categories no longer apply, such as in "Alien Resurrection" (Jeunet, dir., 1997).