Why the future is not female in science fiction… | Little White Lies

Women In Film

Why the future is not female in sci­ence fic­tion cinema

03 Dec 2017

Words by Katie Goh

Two people in silhouette, a man grasping a woman's arm in a tense scene, against a blue-tinged background.
Two people in silhouette, a man grasping a woman's arm in a tense scene, against a blue-tinged background.
Films like Blade Run­ner 2049 project male fan­tasies by plac­ing women in roles of domes­tic servitude.

Sci­ence fic­tion has a women prob­lem. Despite pro­duc­ing some of cinema’s most icon­ic hero­ines – Ellen Rip­ley, Sarah Con­nor, Dana Scul­ly and the women of Star Wars – the genre’s rep­re­sen­ta­tion of female char­ac­ters has repeat­ed­ly been the sub­ject of crit­i­cism and con­tro­ver­sy. Sci­ence fiction’s women fall into two camps. They are either lone Strong Female Char­ac­ters who take on typ­i­cal­ly mas­cu­line char­ac­ter­is­tics or naïve ingénues, born into the bod­ies of sexy adult women as evi­denced in the Born Sexy Yes­ter­day trope.

Some­times they aren’t even real women. Sci­ence fic­tion has become increas­ing­ly con­cerned with AIs and robot automa­tion. As our con­tem­po­rary tech­nol­He­ogy pro­gress­es, the God ques­tion has become an increas­ing anx­i­ety: eth­i­cal­ly, do humans have the right to cre­ate and con­trol life out­side the womb? If so, what hap­pens to this now redun­dant womb? What role do women now occu­py with­in the patriarchy?

Blade Run­ner 2049 wres­tles with these ques­tions. In Denis Villeneuve’s film, the bound­ary between humans and repli­cants is even more blurred than in Rid­ley Scott’s 1982 orig­i­nal, result­ing in some ambi­gu­i­ty over what con­sti­tutes real­i­ty. The film’s hero, K (Ryan Gosling), is not into real girls. Instead he has pur­chased a holo­graph­ic girl­friend, Joi (Ana de Armas).

True to name, Joi is a sick­en­ing delight. We first meet her at K’s apart­ment. Dressed as a 50s house­wife, she dances around K, makes” him din­ner and plays house (“Hard day, hon­ey?”) Not­ing that K isn’t react­ing to her 50s get-up, she changes cos­tume and stereo­type. Joi is an AI pro­grammed to be the ulti­mate wife, per­form­ing the role of sec­re­tary, sex com­pan­ion and domes­tic ser­vant. K’s hap­pi­ness is the sole rea­son for her existence.

Despite K and Joi’s rela­tion­ship being sold as a love sto­ry, Joi is legal­ly owned by K. While she appears to have some agency in what she says (K doubts whether her affec­tions are real), she has been cre­at­ed to be K’s love inter­est. Sell­ing the mud­dy con­sent and pow­er imbal­ance between own­er and prop­er­ty as a love sto­ry is dis­turb­ing, par­tic­u­lar­ly as the film’s release has coin­cid­ed with recent alle­ga­tions of sex­u­al abuse with­in the film industry.

When Joi is dis­con­nect­ed from the mains and placed into a holo­graph­ic pro­jec­tor, she proud­ly calls her­self a real girl” (if the pro­jec­tor breaks, she will be lost for good). But Joi is not a real girl. At best, she’s a sex­u­al fan­ta­sy; at worst, she’s a smashed iPhone that K failed to back up on the Cloud.

Portrait of a woman with blonde hair in neon purple lighting, pointing in the air while a man stands in the background.

Blade Run­ner 2049’s oth­er women fare just as poor­ly. As not­ed in our review, the film’s women occu­py lim­it­ed roles: they are either evil, sex work­ers, or sim­ply naked. Occa­sion­al­ly they are all three. How­ev­er, the argu­ment can be made that the film’s sex­ism is a real­is­tic pro­jec­tion of a night­mar­ish dystopia. Plea­sure mod­els and sex robots are sure­ly only a stone’s throw away from 2017’s sex dolls and VR porn. Helen Lewis notes that the world of Blade Run­ner is a fem­i­nist alle­go­ry for labour under cap­i­tal­ism: When humans built robots, they made them look human, and they also pro­ject­ed their own gen­der roles on to them. The men were killers, min­ers, man­u­al labour­ers, sol­diers. The women were for recreation.”

And, to an extent, this alle­go­ry works. It is hard­ly sur­pris­ing that in the future, women have been reduced to their repro­duc­tive abil­i­ties. The film’s obses­sion with moth­ers and wombs runs par­al­lel to its obses­sion with sex. These are the only two options for women’s bod­ies. In the future, there are no real women.

What is so prob­lem­at­ic about Blade Run­ner 2049 is not the world it is rep­re­sent­ing but how the film­mak­ers have cho­sen to rep­re­sent this world. Com­pare Blade Run­ner 2049 to the recent tele­vi­sion adap­ta­tion of Mar­garet Atwood’s The Handmaid’s Tale. Both are set in patri­ar­chal futur­is­tic dystopias in which women are reduced to their repro­duc­tive abil­i­ties. Yet while The Handmaid’s Tale is root­ed in the women’s expe­ri­ences, Blade Run­ner is con­cerned with K – a het­ero­sex­u­al man – and his per­spec­tive of this world.

We are sup­posed to be tit­il­lat­ed, not out­raged, by the recur­ring images of naked women in sub­mis­sive pos­es, look­ing at them from a voyeuris­tic male gaze. The only plea­sure mod­els’ and sex work­ers in the film are female. Blade Run­ner 2049 is not so futur­is­tic in that its porn, like 2017’s, is designed with a het­ero­sex­u­al male client in mind.

A man wearing glasses and a red shirt sitting at a desk, working on a computer with a city skyline visible through the window.

K and Joi’s rela­tion­ship bor­rows heav­i­ly from Spike Jonze’s Her, the utopi­an flip­side of Blade Run­ner 2049. In the film, Theodore (Joaquin Phoenix) devel­ops a rela­tion­ship with his oper­at­ing sys­tem, who is named Saman­tha (voiced by Scar­lett Johans­son). Like Joi, Saman­tha has been designed to assist Theodore’s every need. She is his sec­re­tary, remind­ing him of appoint­ments, ther­a­pist, lis­ten­ing to his every con­cern, and, even­tu­al­ly, his girlfriend.

Effec­tive­ly, she is a fan­ta­sy ver­sion of his now-divorced wife, pro­grammed to enter­tain, sup­port, and assist with­out ask­ing for any­thing in return; a hyper­bol­ic anal­o­gy of emo­tion­al labour. While Blade Run­ner 2049 does lit­tle to cri­tique this rela­tion­ship trope, Jonze’s film is much more self-aware. Theodore’s ex-wife (Rooney Mara) calls him out on his new rela­tion­ship: You always want­ed to have a wife with­out the chal­lenges of actu­al­ly deal­ing with any­thing real […] It’s perfect.”

Alex Garland’s Ex Machi­na is sim­i­lar­ly set five min­utes into the future, spec­u­lat­ing on what will hap­pen when man is able to cre­ate con­scious­ness in the lab. The film ensures we are made ful­ly aware that the men – Caleb (Domh­nall Glee­son), a pro­gram­mer, and elu­sive CEO, Nathan (Oscar Isaac) – are cre­ative genius­es. Caleb dis­cov­ers that Nathan has man­aged to cre­ate con­scious­ness in the form of beau­ti­ful robot femme women. There are no human women in the film.

Two human-like robots facing each other in a hallway, one holding an object in its hand. The scene has a reddish-brown and metallic aesthetic.

Ex Machi­na is an alle­go­ry for patri­archy: Ava (Ali­cia Vikan­der), one of the robots, is kept behind a glass wall and Caleb is tasked by Nathan to test her for signs that she is devel­op­ing a mind of her own. Ava and her sis­ter-bots have been designed to be Nathan’s domes­tic and sex slaves. Kyoko (Sonoya Mizuno) is anoth­er femme-bot whose sole exis­tence is to serve din­ner, enter­tain, and have sex with Nathan, com­plete with robot vagi­na. Ava and Kyoko are per­fect women: they are beau­ti­ful, silent, and, most impor­tant­ly, have an off-switch. They can be dis­man­tled, repro­grammed, and tin­kered at by their male cre­ators. They, like Blade Run­ner 2059’s Joi, are a male fantasy.

Since the birth of the genre with Mary Shelley’s Franken­stein in 1818, sci­ence fic­tion has asked what will hap­pen when man is able to cre­ate life. In Shelley’s nov­el, Dr Franken­stein, a ner­vous and nerdy young man, exper­i­ments with tech­nol­o­gy (elec­tric­i­ty was the 19th century’s equiv­a­lent of the 21st century’s AI tech), and envi­sions giv­ing life to a beau­ti­ful crea­ture. Instead he cre­ates a grotesque mon­ster. Most mon­strous of all, it devel­ops auton­o­my from its cre­ator and a mind of its own.

Ex Machi­na is a con­tem­po­rary Franken­stein. Nathan’s vision of cre­at­ing the per­fect woman turns ugly when his femme-bots begin devel­op­ing their own con­scious­ness. Ava and Kyoko become mon­sters: they turn on their cre­ator, mur­der him, and seek free­dom. Caleb, who was tricked into assist­ing with Ava’s escape believ­ing him­self to be her knight in shin­ing armour, is betrayed. The tables turn and Ava walks out of the house leav­ing Caleb stuck behind glass. Caleb is furi­ous and aghast. He can’t believe Ava has tricked him. In The Sadeian Woman, Angela Carter famous­ly wrote: A free woman in an unfree soci­ety will be a mon­ster.” Ava is a mon­strous woman because she doesn’t need Caleb. She escapes the patriarchy.

The fan­tasies of female servi­tude in Her, Ex Machi­na, Blade Run­ner 2049 may be easy to scoff at, yet sci­ence fic­tion has always held up an ugly mir­ror to its present moment. A recent sur­vey found that while in 1994, 83 per cent of young men reject­ed the con­ven­tion­al gen­der role of man-as-bread­win­ner, this num­ber had fall­en to 55 per cent in 2014. In the last year, a rhetoric of rose-tint­ed nos­tal­gia for sim­pler times” has dom­i­nat­ed polit­i­cal dis­course. With­in this con­text, it is not so sur­pris­ing that in these films’ futur­is­tic worlds, men have pro­grammed the per­fect 50s housewife.

In his video essay on cin­e­mat­ic AIs, Luís Azeve­do argues that sci­ence fic­tion is as con­cerned with the past as it is with the future: In cin­e­ma, when­ev­er mechan­i­cal beings achieve human-like con­scious­ness they look to the past to find their iden­ti­ty; the rea­son behind their pro­gram­ming.” Devoid of a per­son­al past, our cin­e­mat­ic AIs look back­wards at the his­to­ry of human­i­ty in order to form an iden­ti­ty. Hav­ing been inten­tion­al­ly gen­dered female by their cre­ators, they specif­i­cal­ly look at the his­to­ry of wom­ankind. Ava, Joi, and Saman­tha adopt stereo­types because this is how gen­der has his­tor­i­cal­ly been rep­re­sent­ed in main­stream media. Despite being set in the future, Blade Run­ner 2049, Her, and Ex Machi­na are just as much about their past, and, there­fore, our present.

While tech­nol­o­gy advances, the patri­archy morphs with it. In 2017, the STEM indus­try has a major gen­der imbal­ance (cur­rent­ly, women make up 24 per cent of the indus­try). If these sta­tis­tics aren’t improved upon, our future may well end up look­ing like the night­mar­ish dystopias of these films. Per­haps our present already does.

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