Page 172 - Cyberculture and New Media

Leman Giresunlu 163
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technical and organic. […] One consequence is that our
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sense of connection to our tools is heightened.

Haraway appears to object the illusory aspect of the oneness of the
autonomous self and seems to evade the dialectic of apocalypse for the
benefit of the other. Apocalypse already inhere the religious connotation,
which appears as the impetus in the forward move of the history of the
sciences in western thinking. At this point Haraway appears to intertwine her
denial of the sciences’ historical condition and its underlying mindset along
with a postmodernist sensitivity supportive of the other. In this respect she
seems to position the other in regard of a self which should be wary of the
sciences’ historical evolution but at the same time cognizant of its new others
who are in need to reconcile with the high–tech center. Therefore Haraway’s
position appears to be part of integrating the disenfranchised into the
scientific center. Although quite inspiring and wrought with a certain critical
potential, this vision pertaining to the interactions between the self and the
other projects a cynical impasse. With the denial of the illusory aspect of the
One, the fiction, Haraway generates the separation between the cyborg and
the goddess. Therefore, in total opposition to Haraway what will be even
more exciting to explore in this study is the potential of that too many aspects
of the two. In this respect Haraway regards high-tech culture as a challenge to
the dualisms of the machine and the organic body. Yet this is just another
indication to her preference for the material only. However such challenge if
is to be integrated along multiplicities in gender perceptions in the film media
then the material gains furthermore a touch of interpretation.
In the current science-fiction film, gender roles acquire attributes
different than their traditional ones with the female gender that is usually
regarded to be chaotic, irrational, and weak. On the other hand, traditionally
the masculine gender characteristics imply a rational order, strength and
superiority. In recent science fiction films, female figures as well acquire a
strong role. Thus, they start to look and act superhuman and godly. Although
the term goddess bears a certain religious connotation, in this study it is not
religiosity in the conventional sense. These current goddesses do not have
shrines of their own, just as their ancient counterparts did. The current
goddesses do not invite potential believers to worship them either, unless
they acquire their own fan groups and admirers. These new figures transform
into goddesses when they become popular culture media icons. With the
actress Angelina Jolie, in the role of Lara Croft, and Mila Jovovich as Alice,
the superwoman protagonists etch into public viewers’ minds with their
strength and heroic deeds as enacted in the films they take part. The
corresponding films generate around the protagonists an aura allowing for
their popularity to thrive as exemplary superhuman female figures. At this
point they acquire a goddess-like quality. Therefore popular media as part of