Women in the Horror Film' in order to gain an understanding of the voice of a dominant ideal. He suggests that women in horror only exist as victims. His opinion can be applied clearly to the women of 1950s sci-fi, and whilst these specific images may not be as concurrent today, the basis of woman as victim is still visible. She may not faint or be tearful, but she is still a victim to her constructed image.
Female protagonists exist in only a limited narrative outcome.
This established tradition consistently rears its head in the placement of females in narratives within the constraints of a dominant perception of pre-women's liberation females. Thus it is argued, that sci-fi has become a battleground for ideological representation. As sci-fi labels aliens as 'others' and visa versa it has become increasingly simplistic for the genre to create boundaries of normal and abnormal, dominant and subordinant, in general favour of a hierarchical patriarchal reinforcement of female subjectivity and male dominance. In Alien there is a relevant argument to Mulvey's theory that female protagonists cannot survive because of patriarchal anxiety. If we look at Alien or Aliens as two separate films we can see this is not the case, the protagonist survives to fight again.