From AI to climate change, recent technological, ecological, and cultural 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 "e;posthuman"e; as a means of exploring this development. Through close analyses of films as diverse as Kki ningy [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol s llekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chlo 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, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "e;human"e;. 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 experience.

From AI to climate change, recent technological, ecological, and cultural 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 "e;posthuman"e; as a means of exploring this development. Through close analyses of films as diverse as Kki ningy [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol s llekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chlo 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, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "e;human"e;. 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 experience.