Ghost in the Shell 2, Technicity and the Subject

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Author(s)
Hourigan, Daniel
Griffith University Author(s)
Year published
2013
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This discussion examines how Ghost in the Shell 2: Innocence questions what remains of being human and the assemblage of humanity when the human and the machine collide and elide their limit of differentiation. It will be shown how the film's predilection for technology in its narrative content and technological rationalism in its wider conceptual embedding reconstructs humanity but rejects the metaphysical valuation of humanity through notions of dignity, taboo, respect, affect, and so forth. By connecting this twin problematic of ontological difference and metaphysical poverty to the ontological philosophy of Martin Heidegger ...
View more >This discussion examines how Ghost in the Shell 2: Innocence questions what remains of being human and the assemblage of humanity when the human and the machine collide and elide their limit of differentiation. It will be shown how the film's predilection for technology in its narrative content and technological rationalism in its wider conceptual embedding reconstructs humanity but rejects the metaphysical valuation of humanity through notions of dignity, taboo, respect, affect, and so forth. By connecting this twin problematic of ontological difference and metaphysical poverty to the ontological philosophy of Martin Heidegger and psychoanalytic philosophy of Slavoj ek, this paper aims to unearth and lay bare the paradoxes inherent in the view of technology and society deployed by Innocence and how the film is able to, in the presence of these explicitly ontological paradoxes, put the question of what constitutes a human Subject into crisis by coding it as a symptom.
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View more >This discussion examines how Ghost in the Shell 2: Innocence questions what remains of being human and the assemblage of humanity when the human and the machine collide and elide their limit of differentiation. It will be shown how the film's predilection for technology in its narrative content and technological rationalism in its wider conceptual embedding reconstructs humanity but rejects the metaphysical valuation of humanity through notions of dignity, taboo, respect, affect, and so forth. By connecting this twin problematic of ontological difference and metaphysical poverty to the ontological philosophy of Martin Heidegger and psychoanalytic philosophy of Slavoj ek, this paper aims to unearth and lay bare the paradoxes inherent in the view of technology and society deployed by Innocence and how the film is able to, in the presence of these explicitly ontological paradoxes, put the question of what constitutes a human Subject into crisis by coding it as a symptom.
View less >
Journal Title
Film-Philosophy
Volume
17
Issue
1
Copyright Statement
© The Author(s) 2013. The attached file is reproduced here in accordance with the copyright policy of the publisher. For information about this journal please refer to the journal’s website or contact the author.
Subject
Psychoanalytic Philosophy
Film, Television and Digital Media
Philosophy