Abstract

In the films of the Alien franchise featuring Sigourney Weaver, Ripley's maternal instinct is an integral part of who she is as both survivor and protector—and as a destroyer, too. In Alien, Ripley's misplaced maternal instincts save her from the death‐by‐alien that is the fate of her crew mates as she hurries off in search of the ship's resident cat, Jones. When Ripley hears Jonesy's meow, she responds like a mother to a crying baby. Ridley Scott's Alien begins with an image of near‐naked bodies in capsules, awakening from sleep, slightly dazed, slightly confused—intimating birth, or rebirth. In her theory, Stone harks back to the approach of psychoanalysis, claiming that each experience of motherhood repeats the mother's own infantile past and her own traumatic separation from the maternal body. In Alien: Resurrection, Ripley is reclaimed through a purposeful symbiosis of mother and child; human and alien; self and “other”.