ABSTRACT

Westworld, the HBO series created and written by Jonathan Nolan and Lisa Joy, is an indirect adaptation of Frankenstein that centers on two heroines, Dolores (Evan Rachel Wood) and Maeve (Thandie Newton), android “hosts” who struggle and suffer at the hands of their corporate handlers and of the “guests” who pay to visit a world without consequences. As an innovative feminist extension of Shelley’s Frankenstein, Westworld levels an implied critique against the patriarchal, self-aggrandizing attitudes of Victor Frankenstein and of modern science, which seek to probe and dominate when they should nurture and respect. As such, Westworld valorizes a filial sphere in which creators devote themselves to the emotional well-being of their creations, in which familial ties engender healthy, fully actualized individuals, and in which these individuals develop the emotional strength and circumspection necessary to seek positive social change.

摘要

西部世界是由乔纳森·诺兰和丽莎·乔伊创作和编写的 HBO 系列剧，是对弗兰肯斯坦的间接改编，以两位女主角多洛雷斯（埃文·蕾切尔·伍德）和梅芙（桑迪·牛顿）为中心，他们是在战场上挣扎和受苦的机器人“主人”。他们的公司经理和付费访问一个没有任何后果的世界的“客人”的手。作为雪莱的弗兰肯斯坦的创新女权主义延伸，西部世界对维克多弗兰肯斯坦和现代科学的父权制、自我夸大的态度进行了含蓄的批判，这些态度试图在应该培养和尊重时进行探索和支配。因此，西部世界 重视一个孝顺的领域，在这个领域中，创作者致力于他们创作的情感幸福，在这个领域中，家庭关系产生健康、完全实现的个人，在这个领域中，这些个人发展出寻求积极社会变革所必需的情感力量和谨慎。