Puntos de Fuga
Publicado 30.01.2022
Palabras clave
- Inteligencia artificial,
- robots,
- ciencia ficción,
- estudios fílmicos,
- estudios de género
- mitología griega. ...Más
Resumen
La representación de la inteligencia artificial (IA) en el cine contemporáneo recoge el discurso dominante en la tradición europea sobre los temores y esperanzas de la humanidad generados por la creación de la vida artificial. El presente estudio pretende analizar el retrato de la mujer como representación icónica de la inteligencia artificial en el contexto del zeitgeist actual (Drosnin, 1997; Keane, 2006), ya que los cineastas exploran tanto las preocupaciones antiguas como las recientes sobre los robots femeninos al darles vida en la pantalla (Pandya, 2019; Hamilton, 2018). Sostenemos que una investigación sobre Ex Machina (2014), de Alex Garland, como una nueva lectura de los mitos de Galatea y Pandora corrobora nuestra hipótesis de que el modelo de robot femenino proyecta el espectro de lo femenino monstruoso, y que se puede animar a los cineastas para que lleven a cabo representaciones más complejas de mujeres capaces de subvertir la estructura de poder de la ideología patriarcal (Modleski, 2002).
Citas
<p><em>Abarim Publications</em>. 2002-2021. Recuperado de http://www.abarim-publications.com.<br>
Aldiss, B. W., Wingrove, D. (1986). <em>Trillion Year Spree.</em> Nueva York: Atheneum Publications. <br>
Asimov, I. (1995). <em>The Complete Robot: the Definitive Collection of Robot Stories. </em>Londres: Harper Collins. <br>
Badley, L.(1995).<em> Film, Horror, and the Body Fantastic. </em>Westport: Greenwood. <br>
Baudrillard, J. (1983). <em>Simulations</em>. Nueva York: Semiotext.<br>
Britton, A. (2009). Blissing Out: The Politics of Reaganite Entertainment. En B. K. Grant (ed.), <em>Britton on Film: The Complete Film Criticism of Andrew Britton </em>(pp. 97-154)<em>.</em> Detroit: Wayne State University Press. <br>
Cavallaro, D. (2000). <em>Cyberpunk and Cyberculture. </em>Atlantic Highlands: The Athlone Press. <br>
Chondros, T. G., Milidonis, K. <em>et al</em>. (2013). “Deus-Ex-Machina” reconstruction in the Athens theater of Dionysus. <em>Mechanism and Machine Theory</em>, <em>67</em>, 172-191.<br>
Claeys, G. (2010). <em>The Cambridge Companion to Utopian Literature. </em>Cambridge: Cambridge University Press.<br>
Clover, C. J. (1989). Her Body, Himself: Gender in the Slasher Film. En J. Donald (ed.), <em>Fantasy and the Cinema</em> (pp. 91-133). Londres: BFI. <br>
Creed, B. (2007). <em>The Monstrous-Feminine: Film, Feminism Psychoanalysis. </em>Londres: Routledge.<br>
Denzin, N. K. (1991).<em> Images of Postmodern Society: Social Theory and Contemporary Cinema.</em> Londres: Sage Publications. <br>
Dockrill, P. (2016, 28 de enero). Artificial Intelligence Beats Human Go Champion for the First Time.<em> Science Alert</em>. Recuperado de https://www.sciencealert.com/watch-artificial-intelligence-beats-human-go-champion-for-the-first-time.<br>
Donahue, W. C. (2003). The Shadow Play of Religion in Fritz Lang’s <em>Metropolis</em>. <em>New England Review,</em>
<em>24</em>(4), 207-221. <br>
Dougherty, C. (2006). <em>Prometheus</em>. Londres: Taylor & Francis. <br>
Drosnin, M. (1997). <em>The Bible Code.</em> Londres: Orion Publishers. <br>
Dvorsky, G. (2013, 3 de noviembre). Robots can now collaborate over their very own Internet.<em> Gizmodo. </em>Recuperado dehttps://io9.gizmodo.com/robots-can-now-collaborate-over-their-very-own-internet-452334840.<br>
Eden, A. H., Eric, S. <em>et al</em>. (2012). Singularity hypotheses: An overview. En A. H. Eden, S. Eric <em>et al</em>. (eds.), <em>Singularity hypotheses: A Scientific and Philosophical Assessment </em>(pp. 1-12). Berlín: Springer.<br>
Escudero Pérez, J. (2020). An AI doesn’t Need a Gender (but it’s Still Assigned One): Paradigm Shift of the Artificially Created Woman in Film. <em>Feminist Media Studies,</em>
<em>20</em>(3), 325-340.<br>
Freedman, C. (2013). <em>Critical Theory and Science Fiction.</em> Middletown: Wesleyan University Press. <br>
Geraghty, L. (2009). <em>American Science Fiction Film and Television</em>. Nueva York: Berg Publishers.<br>
Gershgorn, D. (2016, 9 de septiembre). It’s Getting Tougher to Tell if You’re on the Phone with a Machine or a Human.<em> Quartz</em>. Recuperado de https://qz.com/778056/google-deepminds-wavenet-algorithm-can-accurately-mimic-human-voices.<br>
Graf, F. (1993). <em>Greek Mythology: An Introduction.</em> Baltimore: JHU Press. <br>
Hamilton, I. A. (2018, 26 de noviembre). Elon Musk Believes AI Could Turn Humans into an Endangered Species like the Mountain Gorilla<em>.</em>
<em>Business Insider. </em>Recuperado de https://www.businessinsider.es/elon-musk-ai-could-turn-humans-into-endangered-species-2018-11?r=US&IR=T.<br>
Gunn, J. E. (1988). <em>The New Enciclopedia of Science Fiction</em>. Nueva York: Vicking Press.<br>
Hesíodo (2020). <em>Teogonía; Trabajos y días; Escudo</em>. Madrid: Alianza. <br>
Hurwitz, S. (2007). <em>Lilith – The First Eve: Historial and Psychological Aspects of the Dark Feminine</em>. Suiza: Daimon Press. <br>
Indick, W. (2013). <em>Psycho Thrillers: Cinematic Explorations of the Mysteries of the Mind.</em> Jefferson: McFarland Publications. <br>
Jameson, F. (1991). <em>Postmodernism, Or the Cultural Logic of Late Capitalism.</em> Durham: Duke University Press. <br>
Kahn, A. D. (1970). Every Art Possessed by Man Comes from Prometheus: the Greek Tragedians and Science and Technology. <em>Technology and Culture</em>, <em>11</em>(2), 33-162. <br>
Keane, S. (2006). <em>Disaster Movies: The Cinema of Catastrophe. </em>Nueva York:Columbia University Press. <br>
Kellner, D., Best, S. (1997). <em>The Postmodern Turn. </em>Nueva York: Guilford Press.<br>
Kelly, J. R., Hutson-Comeaux, S. L. (2002). Gender Stereotypes of Emotional Reactions: How we Judge an Emotion as Valid. <em>Sex Roles, 47</em>, 1-10.<br>
King, B. (2017). <em>Frankenstein’s Legacy: Four Conversations about Artificial Intelligence, Machine Learning and the Modern world</em>. Morrisville: Lulu.com. <br>
Hugo H. Koning, <em>Hesiod: the Other Poet. Ancient Reception of a Cultural Icon. (Mnemosyne Supplements 325)</em>. Leiden/Boston: Brill Academic Publishers, 2010. <br>
Kring, A. M., Gordon, A. H. (1998). Sex Differences in Emotion: Expression, Experience and Physiology. <em>Journal of Personality and Social Psychology</em>, <em>74</em>(3), 686-703. <br>
Lyotard, J. F. (1984). <em>The Postmodern Condition: A report on Knowledge. </em>Minneapolis: University of Minnesota Press. <br>
Mann, G. (2012). <em>The Mammoth Encyclopedia of Science Fiction.</em> Londres: Hachette UK. <br>
McGilligan, P. (1997). <em>Fritz Lang: The Nature of the Beast.</em> Nueva York: St. Martin’s Press. <br>
Miles, M. R. (1989). <em>Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West.</em> Boston: Beacon Press.<br>
Modleski, T. (2002). On the Existence of Women: A Brief History of the Relations Between Women’s Studies and Film Studies. <em>Women’s Studies Quarterly</em>, <em>30</em>(1-2), 15-24. <br>
Moylan, T., Baccolini, R. (2003).<em> Dark Horizons: Science fiction and the dystopian imagination.</em> Londres: Psychology Press. <br>
Müller, V. C., Bostrom, N. (2016). Future progress in artificial intelligence: A survey of expert opinion. En V. C. Müller (ed.), <em>Fundamental Issues of Artificial Intelligence</em> (pp. 555-572). Cham: Springer.<br>
Muri, A. (2007). <em>The Enlightenment Cyborg: A History of Communications and Control in the Human Machine, 1660-1830.</em> Toronto: University of Toronto Press. <br>
Ovid (2010). <em>Metomorphoses</em>. Indianapolis: Hackett Publishing. (trad. cast.: Ovidio (2015). <em>Metamorfosis</em>. Madrid: Alianza. <br>
Pandya, J. (2019, 14 de enero). The weaponization of Artificial Intelligence<em>. Forbes</em>. Obtenido en https://www.forbes.com/sites/cognitiveworld/2019/01/14/the-weaponization-of-artificial-intelligence/#67cdc7bd3686.<br>
Ruppert, P. (2001). Fritz Lang’s <em>Metropolis</em> and the Imperatives of the Science Fiction Film. <em>A Journal of Germanic Studies,</em>
<em>37</em>(1), 21-32.<br>
Russell, S. (1984). The Witch in Film: Myth and Reality. In B. K. Grant (ed.), <em>Planks of Reason: Essays on the Horror Film</em> (pp. 113-125). Metuchen: Scarecrow.<br>
Ryan, M., Kellner, D. (1988). <em>Camera Politica: The Politics and Ideology of Contemporary Hollywood Fims. </em>Bloomington: Indiana University Press.<br>
Schoenbaum, D. (1997). <em>Hitler’s Social Revolution: Class and Status in Nazi Germany 1933-1939</em>. Londres: WW Norton and Company. <br>
Scholes, R., Rabkin, E. S. (1977). <em>Science Fiction: History, Science, Vision.</em> Oxford: Oxford University Press.<br>
Shelley, M. W. (1993). <em>Frankenstein, or the Modern Prometheus. </em>Londres<em>: </em>Wordsworth Editions. <br>
Strait, M., Aguillon, C. et al. (2017, August 28 - September 1). <em>The Public’s Perception of Humanlike Robots: Online Social Commentary Reflects an Appearance-based Uncanny Valley, a General Fear of a Technology Takeover and the Unabashed Sexualization of Female-gendered Robots.</em> Presentación de conferencias. Lisboa: 26th IEEE International Symposium on Robot and Human Interactive Communication. <br>
Vinge, V. (2017). The coming technological singularity: How to survive in the post-human era. En R. Latham (ed.), <em>Science Fiction Criticism: An Anthology of Essential Writings</em> (pp. 352-363). Londres: Bloomsbury.<br>
Zunshine, L. (2008). <em>Strange Concepts and the Stories They Make Possible: Cognition, Culture, Narrative.</em> Baltimore: John Hopkins University Press.</p>
Aldiss, B. W., Wingrove, D. (1986). <em>Trillion Year Spree.</em> Nueva York: Atheneum Publications. <br>
Asimov, I. (1995). <em>The Complete Robot: the Definitive Collection of Robot Stories. </em>Londres: Harper Collins. <br>
Badley, L.(1995).<em> Film, Horror, and the Body Fantastic. </em>Westport: Greenwood. <br>
Baudrillard, J. (1983). <em>Simulations</em>. Nueva York: Semiotext.<br>
Britton, A. (2009). Blissing Out: The Politics of Reaganite Entertainment. En B. K. Grant (ed.), <em>Britton on Film: The Complete Film Criticism of Andrew Britton </em>(pp. 97-154)<em>.</em> Detroit: Wayne State University Press. <br>
Cavallaro, D. (2000). <em>Cyberpunk and Cyberculture. </em>Atlantic Highlands: The Athlone Press. <br>
Chondros, T. G., Milidonis, K. <em>et al</em>. (2013). “Deus-Ex-Machina” reconstruction in the Athens theater of Dionysus. <em>Mechanism and Machine Theory</em>, <em>67</em>, 172-191.<br>
Claeys, G. (2010). <em>The Cambridge Companion to Utopian Literature. </em>Cambridge: Cambridge University Press.<br>
Clover, C. J. (1989). Her Body, Himself: Gender in the Slasher Film. En J. Donald (ed.), <em>Fantasy and the Cinema</em> (pp. 91-133). Londres: BFI. <br>
Creed, B. (2007). <em>The Monstrous-Feminine: Film, Feminism Psychoanalysis. </em>Londres: Routledge.<br>
Denzin, N. K. (1991).<em> Images of Postmodern Society: Social Theory and Contemporary Cinema.</em> Londres: Sage Publications. <br>
Dockrill, P. (2016, 28 de enero). Artificial Intelligence Beats Human Go Champion for the First Time.<em> Science Alert</em>. Recuperado de https://www.sciencealert.com/watch-artificial-intelligence-beats-human-go-champion-for-the-first-time.<br>
Donahue, W. C. (2003). The Shadow Play of Religion in Fritz Lang’s <em>Metropolis</em>. <em>New England Review,</em>
<em>24</em>(4), 207-221. <br>
Dougherty, C. (2006). <em>Prometheus</em>. Londres: Taylor & Francis. <br>
Drosnin, M. (1997). <em>The Bible Code.</em> Londres: Orion Publishers. <br>
Dvorsky, G. (2013, 3 de noviembre). Robots can now collaborate over their very own Internet.<em> Gizmodo. </em>Recuperado dehttps://io9.gizmodo.com/robots-can-now-collaborate-over-their-very-own-internet-452334840.<br>
Eden, A. H., Eric, S. <em>et al</em>. (2012). Singularity hypotheses: An overview. En A. H. Eden, S. Eric <em>et al</em>. (eds.), <em>Singularity hypotheses: A Scientific and Philosophical Assessment </em>(pp. 1-12). Berlín: Springer.<br>
Escudero Pérez, J. (2020). An AI doesn’t Need a Gender (but it’s Still Assigned One): Paradigm Shift of the Artificially Created Woman in Film. <em>Feminist Media Studies,</em>
<em>20</em>(3), 325-340.<br>
Freedman, C. (2013). <em>Critical Theory and Science Fiction.</em> Middletown: Wesleyan University Press. <br>
Geraghty, L. (2009). <em>American Science Fiction Film and Television</em>. Nueva York: Berg Publishers.<br>
Gershgorn, D. (2016, 9 de septiembre). It’s Getting Tougher to Tell if You’re on the Phone with a Machine or a Human.<em> Quartz</em>. Recuperado de https://qz.com/778056/google-deepminds-wavenet-algorithm-can-accurately-mimic-human-voices.<br>
Graf, F. (1993). <em>Greek Mythology: An Introduction.</em> Baltimore: JHU Press. <br>
Hamilton, I. A. (2018, 26 de noviembre). Elon Musk Believes AI Could Turn Humans into an Endangered Species like the Mountain Gorilla<em>.</em>
<em>Business Insider. </em>Recuperado de https://www.businessinsider.es/elon-musk-ai-could-turn-humans-into-endangered-species-2018-11?r=US&IR=T.<br>
Gunn, J. E. (1988). <em>The New Enciclopedia of Science Fiction</em>. Nueva York: Vicking Press.<br>
Hesíodo (2020). <em>Teogonía; Trabajos y días; Escudo</em>. Madrid: Alianza. <br>
Hurwitz, S. (2007). <em>Lilith – The First Eve: Historial and Psychological Aspects of the Dark Feminine</em>. Suiza: Daimon Press. <br>
Indick, W. (2013). <em>Psycho Thrillers: Cinematic Explorations of the Mysteries of the Mind.</em> Jefferson: McFarland Publications. <br>
Jameson, F. (1991). <em>Postmodernism, Or the Cultural Logic of Late Capitalism.</em> Durham: Duke University Press. <br>
Kahn, A. D. (1970). Every Art Possessed by Man Comes from Prometheus: the Greek Tragedians and Science and Technology. <em>Technology and Culture</em>, <em>11</em>(2), 33-162. <br>
Keane, S. (2006). <em>Disaster Movies: The Cinema of Catastrophe. </em>Nueva York:Columbia University Press. <br>
Kellner, D., Best, S. (1997). <em>The Postmodern Turn. </em>Nueva York: Guilford Press.<br>
Kelly, J. R., Hutson-Comeaux, S. L. (2002). Gender Stereotypes of Emotional Reactions: How we Judge an Emotion as Valid. <em>Sex Roles, 47</em>, 1-10.<br>
King, B. (2017). <em>Frankenstein’s Legacy: Four Conversations about Artificial Intelligence, Machine Learning and the Modern world</em>. Morrisville: Lulu.com. <br>
Hugo H. Koning, <em>Hesiod: the Other Poet. Ancient Reception of a Cultural Icon. (Mnemosyne Supplements 325)</em>. Leiden/Boston: Brill Academic Publishers, 2010. <br>
Kring, A. M., Gordon, A. H. (1998). Sex Differences in Emotion: Expression, Experience and Physiology. <em>Journal of Personality and Social Psychology</em>, <em>74</em>(3), 686-703. <br>
Lyotard, J. F. (1984). <em>The Postmodern Condition: A report on Knowledge. </em>Minneapolis: University of Minnesota Press. <br>
Mann, G. (2012). <em>The Mammoth Encyclopedia of Science Fiction.</em> Londres: Hachette UK. <br>
McGilligan, P. (1997). <em>Fritz Lang: The Nature of the Beast.</em> Nueva York: St. Martin’s Press. <br>
Miles, M. R. (1989). <em>Carnal Knowing: Female Nakedness and Religious Meaning in the Christian West.</em> Boston: Beacon Press.<br>
Modleski, T. (2002). On the Existence of Women: A Brief History of the Relations Between Women’s Studies and Film Studies. <em>Women’s Studies Quarterly</em>, <em>30</em>(1-2), 15-24. <br>
Moylan, T., Baccolini, R. (2003).<em> Dark Horizons: Science fiction and the dystopian imagination.</em> Londres: Psychology Press. <br>
Müller, V. C., Bostrom, N. (2016). Future progress in artificial intelligence: A survey of expert opinion. En V. C. Müller (ed.), <em>Fundamental Issues of Artificial Intelligence</em> (pp. 555-572). Cham: Springer.<br>
Muri, A. (2007). <em>The Enlightenment Cyborg: A History of Communications and Control in the Human Machine, 1660-1830.</em> Toronto: University of Toronto Press. <br>
Ovid (2010). <em>Metomorphoses</em>. Indianapolis: Hackett Publishing. (trad. cast.: Ovidio (2015). <em>Metamorfosis</em>. Madrid: Alianza. <br>
Pandya, J. (2019, 14 de enero). The weaponization of Artificial Intelligence<em>. Forbes</em>. Obtenido en https://www.forbes.com/sites/cognitiveworld/2019/01/14/the-weaponization-of-artificial-intelligence/#67cdc7bd3686.<br>
Ruppert, P. (2001). Fritz Lang’s <em>Metropolis</em> and the Imperatives of the Science Fiction Film. <em>A Journal of Germanic Studies,</em>
<em>37</em>(1), 21-32.<br>
Russell, S. (1984). The Witch in Film: Myth and Reality. In B. K. Grant (ed.), <em>Planks of Reason: Essays on the Horror Film</em> (pp. 113-125). Metuchen: Scarecrow.<br>
Ryan, M., Kellner, D. (1988). <em>Camera Politica: The Politics and Ideology of Contemporary Hollywood Fims. </em>Bloomington: Indiana University Press.<br>
Schoenbaum, D. (1997). <em>Hitler’s Social Revolution: Class and Status in Nazi Germany 1933-1939</em>. Londres: WW Norton and Company. <br>
Scholes, R., Rabkin, E. S. (1977). <em>Science Fiction: History, Science, Vision.</em> Oxford: Oxford University Press.<br>
Shelley, M. W. (1993). <em>Frankenstein, or the Modern Prometheus. </em>Londres<em>: </em>Wordsworth Editions. <br>
Strait, M., Aguillon, C. et al. (2017, August 28 - September 1). <em>The Public’s Perception of Humanlike Robots: Online Social Commentary Reflects an Appearance-based Uncanny Valley, a General Fear of a Technology Takeover and the Unabashed Sexualization of Female-gendered Robots.</em> Presentación de conferencias. Lisboa: 26th IEEE International Symposium on Robot and Human Interactive Communication. <br>
Vinge, V. (2017). The coming technological singularity: How to survive in the post-human era. En R. Latham (ed.), <em>Science Fiction Criticism: An Anthology of Essential Writings</em> (pp. 352-363). Londres: Bloomsbury.<br>
Zunshine, L. (2008). <em>Strange Concepts and the Stories They Make Possible: Cognition, Culture, Narrative.</em> Baltimore: John Hopkins University Press.</p>