Art Cinema’s Suicidal Posthuman Women

Pansy Duncan; Claire Henry; Caitlin Lynch; Missy Molloy

doi:10.16995/intransition.16424

Art Cinema’s Suicidal Posthuman Women

Pansy Duncan, Claire Henry, Caitlin Lynch, Missy Molloy

Research output: Contribution to journal › Article › peer-review

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Abstract

Air Doll (Kûki ningyô, dir. Hirokazu Kore-eda, 2009) introduces a posthuman perspective through its protagonist Nozomi, an inflatable sex doll who miraculously comes to consciousness. Meanwhile, On Body and Soul (Testről és lélekről, dir. Ildikó Enyedi, 2017) centers on a surreal romance between Mária and Endre that thrives, in part, on their posthuman connections to animals and objects. Strong narrative, erotic and traumatic elements bind these films—in particular, their treatments of their posthuman women protagonists—which video editing offered the ideal method for unpacking. Air Doll and On Body and Soul explore the posthuman possibilities inherent in their protagonists’ nonhuman and neurodivergent subjectivities, yet the films’ handling of Nozomi and Mária's leaky bodies reveals their confinement within humanist norms. Left bleeding and deflated, what do Nozomi and Mária foretell for posthuman cinema?

Original language	English
Number of pages	1
Journal	[in]Transition: Journal of Videographic Film & Moving Image Studies
Volume	11
Issue number	2
DOIs	https://doi.org/10.16995/intransition.16424
Publication status	Published - 19 Jun 2024

Keywords

critical posthumanism
posthuman cinema
women's cinema
art cinema

UN SDGs

This output contributes to the following UN Sustainable Development Goals (SDGs)

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10.16995/intransition.16424Licence: CC BY

Final published versionFinal published version, 576 KBLicence: CC BY

Cite this

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title = "Art Cinema{\textquoteright}s Suicidal Posthuman Women",

abstract = "Air Doll (K{\^u}ki ningy{\^o}, dir. Hirokazu Kore-eda, 2009) introduces a posthuman perspective through its protagonist Nozomi, an inflatable sex doll who miraculously comes to consciousness. Meanwhile, On Body and Soul (Testr{\H o}l {\'e}s l{\'e}lekr{\H o}l, dir. Ildik{\'o} Enyedi, 2017) centers on a surreal romance between M{\'a}ria and Endre that thrives, in part, on their posthuman connections to animals and objects. Strong narrative, erotic and traumatic elements bind these films—in particular, their treatments of their posthuman women protagonists—which video editing offered the ideal method for unpacking. Air Doll and On Body and Soul explore the posthuman possibilities inherent in their protagonists{\textquoteright} nonhuman and neurodivergent subjectivities, yet the films{\textquoteright} handling of Nozomi and M{\'a}ria's leaky bodies reveals their confinement within humanist norms. Left bleeding and deflated, what do Nozomi and M{\'a}ria foretell for posthuman cinema?",

keywords = "critical posthumanism, posthuman cinema, women's cinema, art cinema",

author = "Pansy Duncan and Claire Henry and Caitlin Lynch and Missy Molloy",

year = "2024",

month = jun,

day = "19",

doi = "10.16995/intransition.16424",

language = "English",

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journal = "[in]Transition: Journal of Videographic Film & Moving Image Studies",

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T1 - Art Cinema’s Suicidal Posthuman Women

AU - Duncan, Pansy

AU - Henry, Claire

AU - Lynch, Caitlin

AU - Molloy, Missy

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Y1 - 2024/6/19

N2 - Air Doll (Kûki ningyô, dir. Hirokazu Kore-eda, 2009) introduces a posthuman perspective through its protagonist Nozomi, an inflatable sex doll who miraculously comes to consciousness. Meanwhile, On Body and Soul (Testről és lélekről, dir. Ildikó Enyedi, 2017) centers on a surreal romance between Mária and Endre that thrives, in part, on their posthuman connections to animals and objects. Strong narrative, erotic and traumatic elements bind these films—in particular, their treatments of their posthuman women protagonists—which video editing offered the ideal method for unpacking. Air Doll and On Body and Soul explore the posthuman possibilities inherent in their protagonists’ nonhuman and neurodivergent subjectivities, yet the films’ handling of Nozomi and Mária's leaky bodies reveals their confinement within humanist norms. Left bleeding and deflated, what do Nozomi and Mária foretell for posthuman cinema?

AB - Air Doll (Kûki ningyô, dir. Hirokazu Kore-eda, 2009) introduces a posthuman perspective through its protagonist Nozomi, an inflatable sex doll who miraculously comes to consciousness. Meanwhile, On Body and Soul (Testről és lélekről, dir. Ildikó Enyedi, 2017) centers on a surreal romance between Mária and Endre that thrives, in part, on their posthuman connections to animals and objects. Strong narrative, erotic and traumatic elements bind these films—in particular, their treatments of their posthuman women protagonists—which video editing offered the ideal method for unpacking. Air Doll and On Body and Soul explore the posthuman possibilities inherent in their protagonists’ nonhuman and neurodivergent subjectivities, yet the films’ handling of Nozomi and Mária's leaky bodies reveals their confinement within humanist norms. Left bleeding and deflated, what do Nozomi and Mária foretell for posthuman cinema?

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KW - posthuman cinema

KW - women's cinema

KW - art cinema

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JF - [in]Transition: Journal of Videographic Film & Moving Image Studies

IS - 2

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Art Cinema’s Suicidal Posthuman Women

Abstract

Keywords

UN SDGs

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