Постгуманистическое экологическое мышление в современном кино

Abstract

The current ecological situation and humans' fear of their own extinction require them to search for more ethical epistemologies in relation to nature and the environment. Posthumanism theories offer ecological thinking with a rejection of anthropocentrism and a transindividual view of subjectivity arising in the act of interaction between human and non-human agents of different nature. The article offers an analysis of posthumanistic ecological thinking in modern cinema on the example of constructing posthuman subjectivity by the artistic means of a film. The relevance of the topic is indicated by the growing number of specialized scientific journals and publications on ecology, where the principles of ecological thinking are studied on the material from various fields of culture. Modern cinema is of particular interest in this context. A sensitive reaction to cultural trends, technological nature and multifaceted imagery represent posthumanistic logic on the screen in a special way. The aim of the research is to explore artistic ways of expressing posthumanistic ecological thought in modern cinema on the example of constructing posthuman subjectivity. The article will consider the concept of posthumanism and its main features, and the characteristic of posthumanistic ecological thinking in the context of the influence of modern ecology is given. The philosophical and methodological framework for the analysis will be developed on the examples of several author's concepts of posthuman subjectivity;a single concept will be formulated on the basis of its general characteristics. Then the principle of material selection and an approach to analysis will be outlined, offering an alternative reading of non-human objects as agents of relations, participants in the formation of posthuman subjectivity. The final stage of the work is a characteristic of the artistic means used, and ways of representing non-human agency and posthumanistic logic in modern cinema. The results of the study fix various planes of constructing posthuman subjectivity in films both within the plot narrative and in the plane of spectator perception, using the dramatic means of the film, distorted and bright colors, the shooting point changes, subjective camera, and plastic makeup.