CINEMA 7 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO POSTHUMANISM. HUMAN AND NON-HUMAN: LINKS, CONTINUUM, INTERPLAY edited by Patrícia Castello Branco PÓS-HUMANISMO. O HUMANO E O NÃO-HUMANO: LIGAÇÕES, CONTINUIDADES, INTERAÇÕES editado por Patrícia Castello Branco CINEMA 7! i EDITORS Patrícia Silveirinha Castello Branco (IFILNOVA) Sérgio Dias Branco (University of Coimbra/CEIS20/IFILNOVA) Susana Viegas (IFILNOVA/University of Dundee) EDITORIAL ADVISORY BOARD D. N. Rodowick (University of Chicago) Francesco Casetti (Università Cattolica del Sacro Cuore/Yale University) Georges Didi-Huberman (École des hautes études en sciences sociales) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (New University of Lisbon) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (Centre national de la recherche scientifique/Université Sorbonne Nouvelle - Paris 3) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (Escola Superior de Artes e Design de Caldas da Rainha/IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals Latindex: 23308 The Philosopher’s Index PUBLICATION IFILNOVA - NOVA Philosophy Institute Faculty of Social and Human Sciences NOVA University of Lisbon Edifício ID, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal http://www.ifilnova.pt WEBSITE http://www.cjpmi.ifl.pt CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE 7, “Posthumanism. Human and Non- human: Links, Continuum, Interplay” Editor: Patrícia Castello Brancp Reviewers: Alexandra Keller, André Campos, Davina Quinlivan, Ernest Mathijs, Farah Mendelson, Ira Livingston, Jessica Langer, Joe Steiff, Joshua Meyrowitz, Kevin Boon, Matthew Charles, Motoko Tanaka, Patrícia Castello Branco, Peter Marks, Sarah Lauro, Scott Loren, Susan Jeffords, Susana Nascimento, Susana Viegas, Tito Cardoso e Cunha. Cover: The Thin Red Line (1998), dir. Terrence Malick. Publication date: Dec. 2015 CINEMA 7! ii EDITORES Patrícia Silveirinha Castello Branco (IFILNOVA) Sérgio Dias Branco (Universidade de Coimbra/CEIS20/IFILNOVA) Susana Viegas (IFILNOVA/Universidade de Dundee) CONSELHO EDITORIAL CONSULTIVO D. N. Rodowick (Universidade de Chicago) Francesco Casetti (Universidade Católica do Sagrado Coração/Universidade Yale) Georges Didi-Huberman (Escola de Estudos Avançados em Ciências Sociais) Ismail Norberto Xavier (Universidade de São Paulo) João Mário Grilo (Universidade Nova de Lisboa) Laura U. Marks (Universidade Simon Fraser) Murray Smith (Universidade de Kent) Noël Carroll (Universidade da Cidade de Nova Iorque) Patricia MacCormack (Universidade Anglia Ruskin) Raymond Bellour (Centro Nacional para a Pesquisa Científica/Universidade Sorbonne Nouvelle - Paris 3) Stephen Mulhall (Universidade de Oxford) Thomas E. Wartenberg (Mount Holyoke College) EDITORA DAS ENTREVISTAS Susana Nascimento Duarte (Escola Superior de Artes e Design de Caldas da Rainha/IFILNOVA) EDITORA DAS RECENSÕES DE LIVROS Maria Irene Aparício (IFILNOVA) EDITOR DOS RELATÓRIOS DE CONFERÊNCIA William Brown (Universidade de Roehampton) ISSN 1647-8991 CATÁLOGOS Directory of Open Access Journals Latindex: 23308 The Philosopher’s Index PUBLICAÇÃO IFILNOVA - Instituto de Filosofia da NOVA Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa Edifício ID, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal http://www.ifilnova.pt SÍTIO ELECTRÓNICO http://www.cjpmi.ifl.pt CINEMA: REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO 7, “Pós-humanismo. O Humano e o Não-humano: Ligações, Continuidades, Interações” Editora: Patrícia Castello Branco Árbitros científicos: Alexandra Keller , André Campos, Davina Quinlivan, Ernest Mathijs, Farah Mendelson, Ira Livingston, Jessica Langer, Joe Steiff, Joshua Meyrowitz, Kevin Boon, Matthew Charles, Motoko Tanaka, Patrícia Castello Branco, Peter Marks, Sarah Lauro, Scott Loren, Susan Jeffords, Susana Nascimento, Susana Viegas, Tito Cardoso e Cunha. Capa: A Barreira Invisível (1998), real. Terrence Malick Data de publicação: Dez. 2015 CINEMA 7! iii CONTENTS | ÍNDICE Abstracts! 1-9 ARTICLES | ARTIGOS The Cinematic Life of the Figural: Mapping Shapes of Time in Terrence Malick’s The New World (2005)! 11-27 Gabriella Blasi On Some Posthuman Motifs in Walter Benjamin: Mickey Mouse, Barbarism and Technological Innervation! 28-47 Daniel Mourenza! Human/Cyborg/Alien/Friend: Postwar Ressentiment in Japanese Science Fiction and Posthuman Ethics in Kamen Rider Fourze ! 48-66 Se Young Kim The Hard Technological Bodies of Elysium and Edge of Tomorrow! 67-85 Aaron Tucker Posthumanist Panic Cinema? The Films of Andrew Niccol! 86-106 Jon Baldwin Posthumanism in Matthew Barney’s Cremaster Cycle: Autopoiesis and the “Hermetic State” ! 107-130 Irina Chkhaidze Rediscovering our Humanity: How the Posthuman Noir Anime Darker Than Black Subverts the Tropes of Film Noir to Reaffirm a Humanist Agenda. ! 131-148 Maxine Gee Zombie Cinema and the Anthropocene: Posthuman Agency and Embodiment at the End of the World! 149-168 Phillip McReynolds! BOOK REVIEWS | RECENSÕES DE LIVROS Investigating Image and Gesture: Cinema and Agamben. Ethics, Biopolitics and the Moving Image ! 170-175 Tom Lordan! CINEMA 7! iv Seeing the Light: Exploring Ethics Through Movies! 176-178 A.G. Holdier Philosophy and Blade Runner! 179-183 Keith Dromm Mise-en-Scène and/Or Mise-en-Cadre?: Questions from the Book Post-Cinematic Theatre And Performance ! 184-186 Cláudia Madeira Music, Performance, and the Realities of Film: Shared Concert Experiences in Screen Fiction! 187-190 Nick Poulakis CINEMA 7! 1 ABSTRACTS THE CINEMATIC LIFE OF THE FIGURAL: MAPPING SHAPES OF TIME IN TERRENCE MALICK’S THE NEW WORLD (2005) Gabriella Blasi (The University of Queensland) This article investigates Terrence Malick’s cinematic treatment of nature in The New World and argues that cinema, as a figural technology, disrupts the Kantian time-space division informing modernist and postmodernist conceptions of the nature/culture divide. The argument takes Robert Sinnerbrink’s and Iain Macdonald’s divergent readings of Terrence Malick’s The New World and shows how a figural approach can overcome the nature/culture divide informing romantic (Sinnerbrink) and nihilistic (Macdonald) approaches to Malick’s treatment of human-nature relations. In using historical and romanticised figural gestures such as Pocahontas and John Smith, Malick’s film disrupts perception, sensations and significations associated with ideological and mythic readings of the tainted legend, and opens these gestures to their cinematic life. The argument draws on applications of Peter Fenves’ work on Benjamin’s conception of the turn of time to figural experiences of films. In order to illustrate the significance of Fenves’ study in film-philosophy, the analysis will pause at Malick’s use of the map-territory relation in the title sequences of The New World. A figural approach to the map-territory relation will crystallise time as a Benjaminian sphere of total neutrality, a non-subjective continuity of experience able to produce a temporal reduction that does not reside in subjective intentionality. Benjamin’s shape of time illuminates a vision of nature beyond nihilism and delusional romantic ideals, it contributes to a more defined philosophical role of the figural in film-philosophy and opens the film’s figural gestures to their posthumous and, indeed, posthuman, temporal plasticity. Keywords: Time, Phenomenology, Walter Benjamin, Terrence Malick, Nature-culture relations. CINEMA 7 · ABSTRACTS! 2 ON SOME POSTHUMAN MOTIFS IN WALTER BENJAMIN: MICKEY MOUSE, BARBARISM AND TECHNOLOGICAL INNERVATION Daniel Mourenza (University of Leeds) This article discerns some posthuman motifs in Walter Benjamin’s writings on film and analyzes them in dialogue with recent literature on posthumanism. I argue that, from his early anthropological texts, Benjamin devised what can be considered a posthuman theme: the idea of the creation of a collective body in and through technology. It is, nonetheless, in his writings on film that he sets out most fully how this technological innervation into the body of the collective should occur, in this case through a rush of energy through the body of the audience. The arena of cinema reception appears in this way as a paradigmatic space in which to adapt technology into the collective body of the audience. However, cinema reception is only a rehearsal for what could exist for real in the revolution, when the collective attempts to gain mastery over the new techno-body. In this new reconfiguration of humanity, traditional formations such as families and nations would be discarded. I thus suggest that Benjamin’s theory finds an echo in current feminist and postcolonial posthuman authors. In this article, I will particularly focus on the period of the “destructive character” in Benjamin’s oeuvre (1931-1933), in which he develops a fierce critique of bourgeois humanism and conceives the posthuman figures of the inhuman and the positive barbarian, of which Mickey Mouse is a privileged advocate. For Benjamin, Mickey Mouse and his friends were examples of what human beings would resemble once they had merged with technology. Thus, I will argue that Benjamin’s theories around technology, the human body