Research On The Image And Body Of Cyborgs In Posthuman Film

Post-anthropologist Catherine Hales suggests that "we are the post-human." Nowadays,Even though many individuals in modern society are not cyborgs in the full sense of the word,as Donna Haraway puts it "we all live in a cyborg society." The cyborgs portrayed in posthuman films have come to life and have grown into new kinds of subject.The cyborg body embodies the opinion of a subject moving from binary opposition to pluralistic fusion,exerting increasingly significant influence in the here-world and cyberspace,as the posthuman turn deepens,the body changes and technology advances..In the field of science fiction cinema,the posthuman cinema has gradually developed a mature narrative,cultural and aesthetic paradigm,providing a unique sample for our consideration of various posthuman phenomena.The first part of the essay defines the concepts related to posthuman cinema and the cyborg image,introduces the process of the cyborg’s entering into the realm of popular culture from actual conceptions,and extracts the track of cybernetic cinema’s genre development from the subgenre development of science fiction cinema.Finally it summarises and subdivides the subgenre representations of posthuman cinema in terms of character paradigms,narrative propositions and plot structures.The article then discusses the cyborg body in posthuman cinema on three levels: the natural body,the cultural body,and the technological body,using specific examples as research texts for interpretation.The second part of the essay focuses on the cyborg material body,using the embodied cyborg and the anthropomorphic cyborg as examples,and discusses the transformation of the natural body and senses by technology,as well as its significance for the reconstruction of subjectivity.The third part discusses the subversion of the traditional order by the cyborgs as a pluralistic new subject in terms of cultural construction,focusing mainly on the role of cyborg women and exploring the gender narratives in posthuman cinema and the fluidity of gender identity of the cyborg body.The fourth part of the essay delves into the cyberspace,exploring the opportunities and crises brought about by the avatar from the perspective of the technological body.By exploring the tendency of embodiment and disembodiment in cyberspace,the article reflects on the relationship between mind and body and the relationship between technology and the body in postmodern society.Finally,the essay takes the author’s cyborg-themed screenplay Theatre as an example to analyse the aesthetic paradigm of post-human cinema,and elaborates on the path from sensory rupture to restoration of embodiment,from subject disintegration to reconstruction of ontology,and from cyberspace to ecological space in the screenplay,in which realising the unification of interactive aesthetics,ecological aesthetics and the aesthetics of embodiment.