About M3gan and Chucky and all those others

As in American genre films, V.I M3gan Miracle doll brought to life, only to chase it back into the closet. Puppets in movies are only allowed to exist underground in genre films – ChuckyAnd Annabel —returns to Christian ethics and rational Enlightenment thinking, writes Victoria Nelson in her excellent book The secret life of dolls. Plea to make the doll again full of inspiration.

Trained horror fans know what to expect when child protection is left to an AI doll by a techno-optimist. in M3gan Is solo game designer Gemma too busy with her career to pay attention to her nine-year-old niece, Cady? After her parents died in an accident, Cady is assigned to her brilliant aunt. She thinks she has better things to do than babysitting. Gemma’s creation, the larger-than-life Model 3 Generativ Android playmate — M3gan for short — offers a solution. Cuddy, who cuddles happily with her cute new companion, is also the perfect guinea pig to test out the newly promoted game’s blessings. win win. Everyone is happy, right?

Unfortunately, the M3gan is more than just a soft girl version of the classic killer doll Chucky baby play (1988). Where Chucky (the good guy) is possessed by the spirit of a serial killer after a satanic ritual, M3gan goes awry precisely because its AI analyzes events differently than a human. The first thing to drop is the on/off button, with which the doll sheds human control and makes her own plan. M3gan does not have a “parental override”, because there was no time for that during production due to tight deadlines. Just like dr. Eve Simmons (Renée Soutendijk) didn’t have time to install an on/off button on her double robot Eve in on the eve of destruction (1991).

In this kind of horror doll, the story is usually the same: the initial amazement at the human image brought to life, always containing something subtly scary, turns into utter terror once the doll chooses its own path. With only one conclusion: the doll must die, and the genie back in the bottle, so that order can be restored. in M3gan It means restoring family values. The doll seems to liberate the characters at first: it offers Gemma an escape from motherhood and venting to the angry impotence of the orphaned, neglected, and rebellious Cady—supported by her own super-doll-rebellious ego. For a moment, the film seems to combat oppression and gender roles, but it soon comes Business as usual: dear girl, just leave me your anger, be kind and obedient. Working lady, orphan mother: Take care of this child. The trespassing conquest has ended, and social order has been restored.

How do M3gan Fits into a long tradition of (American) genre films where the supernatural doll is short, diabolical, impossible, because the unnatural lives, outlines American literature schoolt Victoria Nelson in her excellent book The secret life of dolls (Harvard University Press, 2001), which should be required reading in film schools. In it, Nelson spins seamlessly the off-roading of the cultural history of dolls, as an image of man, from prehistoric images of fertility ascribed with magical powers as a deity or talisman. At the heart of the puppet stories of Western visual art, literature, and cinema is the profound connection between the human protagonist and his alter-ego, who is at once a counterpart, as the bearer of a radically different, more complete, and true personality. . All qualities—good or bad, human or superhuman, demonic or divine—that have no place in ourselves are ascribed to the doll (the motion picture). As the embodiment of ideas and qualities that transcend the common human self-image, the doll provides an opportunity to play with.

The fact alone that in the 21st century we can hardly imagine our ancestors seeing their puppets as animated, just like other inanimate objects, says something about how narrowly our perception is. This is mainly due to Christianity, which labeled everything outside of officially permitted monotheism as superstition, heresy, or the work of the devil. Having separated matter from spirit, the Enlightenment and science did the rest: only that which was empirically observable and amenable to rational explanation has the right to exist. Since the advent of psychology, the supernatural, mysterious, and inexplicable belong to the field of abnormalities. Showing concern or paying attention to this matter is “disobedience” at best. When things go wrong, this curiosity is seen as evidence that you have lost touch with reality. The freedom to use dolls to hold a mirror to humans is limited to genre films, where dolls lead an underground existence alongside robots and androids.

The one who takes into account the secretive existence, awesome power, and history of pop is Guillermo Del Toro in his latest book Pinocchio. There is no Disney moral here about a rebellious boy doll who only becomes a real boy if he follows the rules, but the other way around. Guillermo’s Pinocchio is not revived by a mother fairy, but by ancient, pre-Christian spirits from the forest. Pinocchio is a creature created by a drunken Geppetto, who from his deepest feelings—the agonizing loss of his son—creates an imperfect being who takes the son’s place, after his death in the church.

Church (priest), state (domestic fascism) and capitalism (fairground operator) crowd among themselves to either destroy this uncontrollable being, which will obey neither natural law nor universal law, as ‘the work of the devil’, or use it to their advantage. Pinocchio’s lies are not del Toro’s reprehensible character trait, but a creative act of self-preservation. After all, lying is fantasizing. Challenge and extend reality. When Pinocchio lies, he does so cheerfully and gallantly. Her nostrils come to life: on her are branches and leaves: they grow! This Pinocchio is very different from the one in the Disney movies, showing Pinocchio’s growing nose and punishing him. Del Toro liberates the doll in a way: it doesn’t have to adapt to the demands of a macho society. Pinocchio says no, he doesn’t share and inspires others with his stubborn attitude. After the necessary wanderings, Geppetto accepts his wooden son as he is, and Pinocchio remains his wonderful, flawed self. In Del Toro, the doll and human are not unlike each other, but are equal counterparts. The doll is not as complete as the human being, but it is also a source of inspiration.

Another recent film goes one step further, showing how the human image and human (pop) can merge. Monague Daydreaming is a portrait of David Bowie, who had many unusual elegance and ever-changing looks to escape from a fixed personality and pre-existence. Bowie accepted that there are no fixed forms or fixed ideas, that are neither natural nor unnatural. He constantly pushed boundaries, explored new forms of cognition (with drugs, and a lot of drugs!) and denounced man’s arrogance for placing himself at the center of the universe. A person who considered self-expression a way out of all that is incomprehensible: time and the universe first. To counter the “generally accepted refusal to accept the chaos that the universe represents, which is an essential part of our lives,” he created a life of his own, inspiring and perhaps liberating his fans. As an artist/performer, Bowie filled the gap in the mystery fantasy that is life, releasing his demons and being an alien being, divine, demonic, magical, spiritual, androgynous, intersex, as changeable as the wind. Bowie is constantly reincarnated. As Hunky Dory, Aladdin Sane, Halloween Jack, Ziggy Stardust, Thin White Duke, and returning as David Jones. “Life is wonderful,” said Bowie, who pulled his doll out of the closet by embodying it on stage.

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