Galatea/Pygmalion

Pygmalion created a sculpture that he thought so beautiful that he prayed the gods would give it life. And they did. This is the myth of Pygmalion.

The modernizations of this myth deal with woman not as primordial clay, but as information and sound. "A woman who utters such depressing and disgusting sounds has no right to be anywhere. Remember that you're a human being with a soul and the divine gift of articulate speech. . . . Heavens what a sound!" Shaw's Pygmalion places the drama of creating a "lady" out of a guttersnipe at the locus of the voice. In order to facilitate the upward mobility of the voice and transform localized and democratic noises into the clear lingua franca of a placeless elite, Higgins hooks Eliza up to a variety of sound recording and disciplining machines. Shaw's Pygmalion, with its confirmed bachelors and their bachelor machines, meditates on the distinction not between art and life, but between machine and human. Does Higgins have a feeling heart in him? Is Eliza more than his machine? In the end, while voice with its machines approximates the soul, Higgins "can't turn [her] soul on." 

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This montage from the 1938 version seems to be reminiscent of the creation of the robot-Maria by the mad scientist Rotwang in Lang's Metropolis. 

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In My Fair Lady, a woman is explicitly coded as "noise" that threatens the bachelor's meditative life.