Sci-fi Films From a Perspective of Post-human Ecologies

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When discussing the concept of “post-humans,” we spontaneously focus on technological elements such as digital technology, genetic engineering, artificial intelligence, brain-computer interfaces, chip implants, conscious storage, and interstellar travel. Despite this, the real meaning of post-human often varies. Some actually speak of “non-human,” referring to other forms of life or life-like entities that will dominate the world after the demise of humans, such as aliens and robots. Others discuss the idea of “super-humans,” a combination of humans and machines with capabilities beyond those of today’s humans, or “cyborgs.” Still others debate over “new humans,” generalizing “post-humans” to refer to all individuals in the technological age, as everyone is equipped with electronic or online media prosthetics.

In the book Sci-fi Films From a Perspective of Post-human Ecologies, by Huang Mingfen, a professor from the School of Film at Xiamen University, “post-human” actually refers to a synthesis of the above three interpretations, featuring openness and inclusiveness.

The book offers multiple innovative and transformative perspectives, starting with a shift from post-human ethics to post-human ecology. Most sci-fi film research from a post-human lens has primarily focused on “ethical” issues, examining the relationship between individuals and society. Huang’s fresh perspective on post-human ecology overcomes the problem that post-human ethics likely over-generalizes the study of ethics. He delves deep into the relationship between humanity and the environment, particularly in the context of the “Anthropocene,” which requires urgent studies.

The book expands the scope from ecological issues in reality to those in sci-fi films. Huang not only conducts theoretical abstraction and refinement from vivid texts and case studies of sci-fi films, but also investigates correlations between reality and film. In Huang’s view, ecologism in sci-fi movies and in real-life contexts resonate with each other. In stories full of wonders and imagination, we can interpret ecologism propositions such as biocentrism, animal rights theory, deep biology, and ecofeminism. At the same time, the author does not equate reality ecology with sci-fi ecology in that the ecology of sci-fi films is typical of “cosmic,” “catastrophic,” and “paradoxical” natures.

The book also extends its focus from natural ecology to spiritual ecology. “Ecology” has both broad and narrow senses. In the narrow sense, it can refer to various life and material relations in nature. In the broad sense, it stretches to encompass the spiritual realm, highlighting the social and psychological dimensions of ecological problems. The author concentrates on both natural and spiritual ecology, proceeding sci-fi film post-human ecology research from natural ecology, social ecology, psychological ecology, and ecological patterns.

Zhang Jingwu is a professor from the School of Communication at Fujian Normal University.

Edited by YANG LANLAN