![]() It asserts that Lang denies the film an imaginary, visual space within which the cyborg femme, though seeming human, is not afforded any agency-as Derrida asserts about the machine-animal-or her own will towards self-determination. Drawing on posthuman theory, and in particular cyborg theory as proposed by Donna Haraway, this article investigates to what degree the film denies the true symbolic potency of the cyborg by casting its creation as reminiscent of Frankenstein’s monster. ![]() While much academic interest in the film has focused on it as capitalist allegory – seen in the separation of the bourgeoisie above-ground from the proletariat underground – less attention has been paid to the film’s representation of the cyborg, and, more specifically, the cyborg femme. ![]() Fritz Lang’s ground-breaking science-fiction film Metropolis (1927) has long held a particular fascination with film critics because of its exploration of the exploited proletariat and the dangers of human-machine interaction. ![]()
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