Feminist Posthumanism in Contemporary Science Fiction Film and Media: From Annihilation to High Life and Beyond

Half Title\nTitle Page\nCopyright Page\nContents\nFigures\nAcknowledgments\nPreface\nIntroduction: Feminist Refractions of the Posthuman\nPart I: Posthuman Bodies and Identities\n	Chapter 1: Indigenous Futurist and Women-Centered Dystopian Film\n	Chapter 2: Gender, Sex, and Feminist AI: Thirteen Theses on Her\n	Chapter 3: Her: A Posthuman Love Story\n	Chapter 4: Posthuman Mothers and Reproductive Biovalue in Blade Runner: 2049 and Jurassic World: Fallen Kingdom\n	Chapter 5: Desirable and Undesirable Cyborg Bodies in the Mass Effect Video Game Trilogy\nPart II: Posthuman Environments and Entanglements\n	Chapter 6: Material Entanglements and Posthuman Female Subjectivity in Annihilation\n	Chapter 7: Jonathan Glazer’s Under the Skin: Female Embodiment and Ecology\n	Chapter 8: Living in Color: Feminist and Posthumanist Ontology in Upstream Color\n	Chapter 9: Ascendance to Trans-Corporeality or Assimilation to Whiteness: The Posthuman Imaginaries of Annihilation and Midsommar\nPart III: Posthumanist Endings and Futures\n	Chapter 10: Digital Game Ecologies: Posthuman Convergences in Abzû and Horizon: Zero Dawn\n	Chapter 11: From Rogue Planets to Black Holes: Revaluing Death in Melancholia and High Life\n	Chapter 12: “Originary Twoness”: Flashbacks and the Materiality of Memory in Annihilation, High Life, and Arrival\n	Chapter 13: Coming to Terms with Our Own Ends: Failed Reproduction and the End of the Hu/man in Claire Denis’ High Life and Pella Kågerman and Hugo Lija’s Aniara\nBibliography\nContributors\nIndex