Posthuman Love Affairs In Spike Jonze S Her

Seminar paper from the year 2021 in the subject English Language and Literature Studies - Other, grade: 1, Klagenfurt University (English Department), language: English, abstract: The following research paper aims to discuss the futuristic love story in Her. The first part analyzes differences and similarities between human-human and human-machine relationships, highlighting essential parts of a functioning bond. Next, it examines the long-term negative effects of such relationships. Living in the 21st century, human-machine relationships do not seem far-fetched. With dating sites like Tinder and Lovoo, traditional dating has changed for humanity in the last decades. With Instagram, Facebook, and Co., long-distance relationships are more common than they were the generations before. Traditional dating patterns have changed in many ways. With the development of modern technology, communication habits are based on phone calls, video chats, and messaging apps and sending each other posts via social media. In his science-fiction drama Her (2013), Spike Jonze goes further to say that a romantic relationship between an operating system and a man is possible. In a futuristic setting, the protagonist Theodore Twombly (Joaquin Phoenix) finds himself grieving over the separation from his ex-wife. As Samantha (Scarlett Johansson) appears in his life, she can connect with him. A posthuman love story between an operating system and a human being is the topic of the film.

Feminist Posthumanism in Contemporary Science Fiction Film and Media: From Annihilation to High Life and Beyond places posthumanism and feminist theory into dialogue with contemporary science fiction film and media. This essay collection is intimately invested in the debates around the posthuman and the critical posthumanities within a feminist critical-theoretical framework. In this posthumanist light, science fiction as a genre allows for new imaginings of human-technological relations, while it can also be the site of a critique of human exceptionalism and essentialism. In this way, science fiction affords unique opportunities for the scholarly investigation of the relevance and relative applicability of specific posthumanist themes and questions in a particularly rich and wide-ranging popular cultural field of production. One of the reasons for this suitability is the genre's historically longstanding relationship with the critical investigation of gender, specifically the position and relative empowerment of women. The original analyses presented here pay close attention to audiovisual style (including game mechanics), facilitating the critical interrogation of the issues and questions around posthumanism. Where typically the mention of SF in the posthumanist context calls to mind a whole set of (often clichéd) tropes-the cyborg, technologically augmented bodies, AI subjectivities, etc.-this volume's thirteen chapters analyze specific examples of contemporary SF cinema that engage in meaningful ways with the burgeoning field of critical posthumanism, and that utilize such films to interrogate posthumanist and feminist as well as humanistic ideas.

The topic of biopolitics is a timely one, and it has become increasingly important for scholars to reconsider how life is objectified, mobilized, and otherwise bound up in politics. This cutting-edge volume discusses the philosophical, social, and political notions of biopolitics, as well as the ways in which biopower affects all aspects of our lives, including the relationships between the human and nonhuman, the concept of political subjectivity, and the connection between art, science, philosophy, and politics. In addition to tracing the evolving philosophical discourse around biopolitics, this collection researches and explores certain modes of resistance against biopolitical control. Written by leading experts in the field, the book’s chapters investigate resistance across a wide range of areas: politics and biophilosophy, technology and vitalism, creativity and bioethics, and performance. Resisting Biopolitics is an important intervention in contemporary biopolitical theory, looking towards the future of this interdisciplinary field.

From AI to climate change, recent technological, ecological, cultural, and social transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol[On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the "posthuman on screen" crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, politics, community, relationality and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory-an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman existence.

This book analyses the phenomenon of digitally mediated property and considers how it problematises the boundary between human and nonhuman actors. The book addresses the increasingly porous border between personhood and property in digitized settings and considers how the increased commodification of knowledge makes visible a rupture in the liberal concept of the property owning, free, person. Engaging with the latest work in posthumanist and new materialist theory, it shows, how property as a concept as well as a means for control, changes fundamentally under advanced capitalism. Such change is exemplified by the way in which data, as an object of commodification, is extracted from human activities yet is also directly used to affectively control – or nudge – humans. Taking up a range of human engagements with digital platforms and coded architectures, as well as the circulation of affects through practices of artificial intelligence that are employed to shape behaviour, the book argues that property now needs to be understood according to an ecology of human as well as nonhuman actors. The idea of posthuman property, then, offers both a means to critique property control through digital technologies, as well as to move beyond the notion of the self-owning, object-owning, human. Engaging the most challenging contemporary technological developments, this book will appeal to researchers in the areas of Law and Technology, Legal Theory, Intellectual Property Law, Legal Philosophy, Sociology of Law, Sociology, and Media Studies.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

This book looks at Spike Jonze's ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions