Almas de metal. La mujer como creación científica en el cine

This paper looks over diverse moments of fantastic cinema that portray different representations of women as a scientific creation. After early samples such as Metropolis (1927) or The Bride of Frankenstein (1935), the science fiction cinema shows its interest in dealing with artificial female figures, such as automatic women and its many incarnations: monsters, robots, cyborgs, computer creations, etc. The discourses produced by many of these fictions reveal the fantasies and fears typical of a patriarchal society which has trouble dissociating itself from stereotypes, and which finds its own caricatured reflection in the figure of the mad doctor or scientific.