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Film 4280: Film Genres Cronenberg and Cinemas of the Posthuman (Fall 2010, CRN: 85130)

Class: Th 4:30pm-7:00pm, GCB 317 Screening: T 4:30pm-6:20pm, Arts & Humanities 406 Instructor: Email: Website: Mailbox: Drew Ayers dayers2@gsu.edu www.drewayers.com 6th Floor, One Park Place Office: 840E, One Park Place Office Hours: T 12:30pm-2:30pm; Th 12:30pm2:30pm, and by appt. (ALWAYS email first)

N.B. 1) The course website and uLearn will reflect updates to the course, changes in the syllabus, assignments, etc. Be sure to check them regularly. The course syllabus provides a general plan for the course; deviations may be necessary. 2) Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State University. Upon completing the course, please take the time to fill out the online course evaluation. Course Description Using the films of Canadian filmmaker David Cronenberg (as well as a selection of other fiction and documentary films), this course examines the ways in which a vernacular posthumanism is established through the modes of visuality deployed by posthuman cinema. Primary focus is placed on the work of Cronenberg, as his films provide a coherent lens through which to examine the value that posthuman theory can provide to film studies. This course is designed to develop the skills necessary to write cogently and persuasively about film, provide an appreciation for this cycle of films, and cultivate the skills necessary to do film research. The class is also structured heavily around discussion, and students are expected to contribute their thoughts during every session. Course Prerequisites Film 1010 (Film Aesthetics and Analysis) and Film 2700 (History of Motion Pictures) Course Objectives By the end of the course, students will be able to: Demonstrate a grasp of the key terms, concepts, and debates within the field of posthuman theory and how posthuman theory can apply to film studies Identify and analyze the aesthetic and thematic elements of the films of David Cronenberg Effectively read, analyze, critique, and engage with scholarly writing about film Present original ideas through class presentations and discussion Conduct research specific to film studies Write and speak cogently and persuasively about film and film scholarship Required Texts 1) Beard, William. The Artist as Monster: The Cinema of David Cronenberg. Rev. and expanded.

2 ed. Toronto: University of Toronto Press, 2006. 2) Readings on Electronic Reserve ER Link: http://reserves.gsu.edu/eres/coursepage.aspx?cid=3231 ER Password: x1v4dxmgF 3) Course films Screenings Attendance at the screenings is a mandatory part of this course. Consequently, attendance will be taken at the screenings, and absences will be counted as personal days. I expect everyone to be on time for the screenings, which means that you should be in the screening room and seated by 4:30pm latecomers are distracting, and missing the first part of a film can radically affect your interpretation of that film. If for some reason you are unable to attend a screening, you are responsible for seeing the film on your own. These films are available through the library media center (2nd Floor, Library South), Netflix, or at local video stores. The films are a fundamental part of the course and will comprise a large part of our discussions and written assignments. Therefore, even if you have already seen the films, you should plan to view them again. Attendance and Participation Attendance for this course is mandatory. My approach to this class will integrate lectures, class discussions, student presentations, and various exercises and activities in order to explore the principles discussed in the readings and lectures you cant participate if youre not there. Attendance will be taken during the first fifteen minutes of each class by using a sign-in sheet. If you arrive to class after the first fifteen minutes, you will be counted as tardy. Each tardy counts as one-half of an absence. Each student will have three personal days during the semester to cover absences from either class or screenings. These days may be used for any reason you choose and should include time out for illness, emergencies, religious holidays, and family obligations. For each absence after the initial three, your overall attendance grade will be lowered by one letter grade. If you have an ongoing situation that requires special consideration, please discuss this with me at the beginning of the semester. Group discussion of course material will comprise a large portion of our in-class activity. It is essential that you have carefully read the assigned material prior to class in order to fulfill your responsibilities as a member of the learning community of this class. Further, you are expected to participate actively in class discussion. Attendance/Participation comprises 10% of the final grade, and your participation grade will be based on both the frequency and quality of your participation. Everyone is expected to participate in class discussions. Late Assignment Policy If an assignment is turned in late, one full letter grade will be deducted for each day the assignment is late. If you are unable to attend class on a day that an assignment is due, you must contact me prior to the class and make alternative arrangements. Assignments must be uploaded to uLearn by class time (4:30pm). Assignments uploaded after 4:30pm will automatically be marked as late. When assignments are due, expect the unexpected. Assume that one (or perhaps all) of the following will happen to you on exam dates and assignment due dates: Your internet connection suddenly stops working

3 uLearn crashes or experiences some other kind of technical difficulty Your disk crashes and all your data is lost Your car will not run, busses will skip your stop, and all or your friends will be out of town Please take whatever steps are necessary to prevent these events from affecting the timely submission of assignments and exams. Policy for Make-Up Exams Unless we have discussed rescheduling an exam before the exam date, exams may only be madeup in instances of extreme hardship. I will require documentation verifying the hardship, and the option to complete a make-up exam is at my discretion. Additional Sources of Academic Support The University offers a range of support services for students. Among the resources available are: The Writing Studio (http://www.writingstudio.gsu.edu/) Provides advice and tutoring in composition Student Support Services (http://www.gsu.edu/oeo/sss.html) Offers a variety of services, including tutoring, career counseling, and support groups Special Accommodations Students who wish to request accommodation for a disability may do so by registering with the Office of Disability Services (http://www2.gsu.edu/~wwwods/). Students may only be accommodated upon issuance by the Office of Disability Services of a signed Accommodation Plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought. Assignments There are five primary assignments for the semester. We will talk about each in more detail as the due dates approach. 1) Reading/Film Response Essays: Each student is responsible for completing two reading/film response essays of 750 words. One must be completed before the midterm point (10/7), and one must be completed after midterm and before the end of classes (12/2). Each response essay is worth 10% of your overall grade, and the essays together comprise 20% of your overall grade. See page 9 of this syllabus for more information. 2) Presentation/Discussion Leader: A group of students will be responsible for leading a portion of each class discussion. Your responsibilities include: a) Choosing clips from the film(s) of the week to show to the class (in addition to clips from the weeks film, you may also select clips from other films to illustrate your points); b) Providing a summary of the main argument of the reading(s) assigned for the day; c) Providing an interpretation of and drawing connections between the readings and film clips; and d) Designing topics/questions for class discussion. Think of yourselves as teachers I want this assignment to provide you with the experience of leading a class discussion. Ill have my own thoughts about the films and readings (which Ill contribute), but Im more interested in hearing what you think. It would probably be helpful to write a response essay for the week in which you are leading discussion, as you can use your essay as a

4 starting point for discussion. This aspect of the course is worth 10% of your overall grade. 3) Midterm Exam: Each student must complete a midterm exam, to be given in class on October 28. The exam will ask you to view a film clip and to place that film clip within the context of our discussions of Cronenberg and posthuman theory. The midterm exam is worth 20% of your overall grade. 4) Final Paper Proposal/Annotated Bibliography: Each student must submit a proposal and annotated bibliography for his/her final paper. The proposal is due on November 11, and it is worth 15% of your overall grade. See page 10 of this syllabus for more information and a template of the proposal. 5) Final Paper: The final paper must be 2000-2500 words in length, and it requires a research element. The final paper is due at 4:15pm on Thursday, December 9, and it is worth 25% of your overall grade. See page 11 of this syllabus for more details. All materials must be submitted to uLearn by the beginning of the class for which they are due (4:30pm), and papers should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. You must include a word count at the end of each essay. Use MLA format for your citations and works cited page. Grading Two Reading/Film Response Essays (10% each): Presentation/Discussion Leader: Midterm Exam: Final Paper Proposal/Annotated Bibliography: Final Paper: Attendance/Participation: 20% 10% 20% 15% 25% 10%

Grading Breakdown A+ (100-97); A (96-94); A- (93-90); B+ (89-87); B (86-84); B- (83-80); C+ (79-77); C (76-74); C- (73-70); D+ (69-67); D (66-64); D- (63-60); F (59-0) Regarding Scholastic Dishonesty: I take this matter very seriously and will report any suspected cases of academic dishonesty to the Office of Judicial Affairs. For details on the Universitys policy on Academic Honesty, please consult the Offices website at http://www2.gsu.edu/~wwwdos/judicial.html or the Policy on Academic Honesty in the Faculty Handbook (section 409) at http://www2.gsu.edu/~wwwfhb/fhb.html. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. The process by which the university handles academic misconduct cases is also very specifically spelled out in the policy. Violation of the policy may result in failing the class as well as disciplinary sanctions. The internet makes it easy to plagiarize, but also easy to track down plagiarism If you can google it, I can google it. Bottom line: Dont plagiarize its not worth it. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors work.

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GSU Policy on Academic Honesty REPRINTED FROM THE FACULTY HANDBOOK | July 2010 Introduction As members of the academic community, students are expected to recognize and uphold standards of intellectual and academic integrity. The university assumes as a basic and minimum standard of conduct in academic matters that students be honest and that they submit for credit only the products of their own efforts. Both the ideals of scholarship and the need for fairness require that all dishonest work be rejected as a basis for academic credit. They also require that students refrain from any and all forms of dishonorable or unethical conduct related to their academic work. The university's policy on academic honesty is published in the Faculty Affairs Handbook and the On Campus: The Undergraduate CoCurricular Affairs Handbook and is available to all members of the university community. The policy represents a core value of the university and all members of the university community are responsible for abiding by its tenets. Lack of knowledge of this policy is not an acceptable defense to any charge of academic dishonesty. All members of the academic community -- students, faculty, and staff -- are expected to report violations of these standards of academic conduct to the appropriate authorities. The procedures for such reporting are on file in the offices of the deans of each college, the office of the dean of students, and the office of the provost. In an effort to foster an environment of academic integrity and to prevent academic dishonesty, students are expected to discuss with faculty the expectations regarding course assignments and standards of conduct. Students are encouraged to discuss freely with faculty, academic advisors, and other members of the university community any questions pertaining to the provisions of this policy. In addition, students are encouraged to avail themselves of programs in establishing personal standards and ethics offered through the university's Counseling Center. Definitions and Examples The examples and definitions given below are intended to clarify the standards by which academic honesty and academically honorable conduct are to be judged. The list is merely illustrative of the kinds of infractions that may occur, and it is not intended to be exhaustive. Moreover, the definitions and examples suggest conditions under which unacceptable behavior of the indicated types normally occurs; however, there may be unusual cases that fall outside these conditions which also will be judged unacceptable by the academic community. A. Plagiarism: Plagiarism is presenting another person's work as one's own. Plagiarism includes any paraphrasing or summarizing of the works of another person without acknowledgment, including the submitting of another student's work as one's own. Plagiarism frequently involves a failure to acknowledge in the text, notes, or footnotes the quotation of the paragraphs, sentences, or even a few phrases written or spoken by someone else. The submission of research or completed papers or projects by someone else is plagiarism, as is the unacknowledged use of research sources gathered by someone else when that use is specifically forbidden by the faculty member. Failure to indicate the extent and nature of one's reliance on other sources is also a form of plagiarism. Any work, in whole or in part, taken from the Internet or other computer-based resource without properly referencing the source (for example, the URL) is considered plagiarism. A complete reference is required in order that all parties may locate and view the original source. Finally, there may be forms of plagiarism that are unique to an individual discipline or course, examples of which should be provided in advance by the faculty member. The student is responsible for understanding the legitimate use of sources, the appropriate ways of acknowledging academic, scholarly or creative indebtedness, and the consequences of violating this responsibility. B. Cheating on Examinations: Cheating on examinations involves giving or receiving unauthorized help before, during, or after an examination. Examples of unauthorized help include the use of notes, computer based resources, texts, or "crib sheets" during an examination (unless specifically approved by the faculty member), or sharing information with another student during an examination (unless specifically approved by the faculty member). Other examples include intentionally allowing another student to view one's own examination and collaboration before or after an examination if such collaboration is specifically forbidden by the faculty member. C. Unauthorized Collaboration: Submission for academic credit of a work product, or a part thereof, represented as its being one's own effort, which has been developed in substantial collaboration with another person or source, or computer-based resource, is a violation of academic honesty. It is also a violation of academic honesty knowingly to provide such assistance. Collaborative work specifically authorized by a faculty member is allowed. D. Falsification: It is a violation of academic honesty to misrepresent material or fabricate information in an academic exercise, assignment or proceeding (e.g., false or misleading citation of sources, the falsification of the results of experiments or of computer data, false or misleading information in an academic context in order to gain an unfair advantage). E. Multiple Submissions: It is a violation of academic honesty to submit substantial portions of the same work for credit more than once without the explicit consent of the faculty member(s) to whom the material is submitted for additional credit. In cases in which there is a natural development of research or knowledge in a sequence of courses, use of prior work may be desirable, even required; however the student is responsible for indicating in writing, as a part of such use, that the current work submitted for credit is cumulative in nature.

Daily Schedule
What is Posthumanism? 8/24 Screening: 8/26 Reading: Fast, Cheap & Out of Control (Morris, 1997) Course syllabus (on Ulearn and class website) Hayles, Chapter 1, Toward Embodied Virtuality Wolfe, Introduction Beard, Preface

Materialist Posthumanism 8/31 Screening: Man with a Movie Camera (Vertov, 1929) 9/2 Reading: Marx, pg. 163-177 Benjamin, The Work of Art in the Age of Mechanical Reproduction Debord, Chapter 2, The Commodity as Spectacle Shivers (Cronenberg, 1975) Benjamin, Paris, Capital of the 19th Century Beard, Chapter 3

9/7 9/9

Screening: Reading:

Metapictures and Living Images 9/14 Screening: 300 (Snyder, 2006) 9/16 9/21 9/23 Reading: Screening: Reading: Foucault, Chapter 1, Las Meninas Mitchell, Picture Theory, Chapter 2, Metapictures The Brood (Cronenberg, 1979) Mitchell, What Do Pictures Want?, Chapter 2, What Do Pictures Want? Beard, Chapter 5

Philosophical Posthumanism, Part I: Questioning the Cogito 9/28 Screening: Scanners (Cronenberg, 1981) 9/30 Reading: Descartes, Meditation Two Merleau-Ponty, Preface Beard, Chapter 6

Technological Posthumanism, Part I: Cyborgs and Prosthetics 10/5 Screening: Videodrome (Cronenberg, 1983)

7 10/7 Reading: Haraway, Simians, Cyborgs, and Women, Chapter 8, A Cyborg Manifesto Beard, Chapter 7

Significant Otherness and The Animal Question 10/12 Screening: Planet Earth, Caves and Shallow Seas (Fothergill 2006/7) 10/14 10/19 10/21 Reading: Screening: Reading: Deleuze and Guattari, Chapter 10, 1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible The Fly (Cronenberg, 1986)

Haraway, When Species Meet, Chapter 1, When Species Meet: Introductions Beard, Chapter 9 Assignment: In-class review for the midterm. Come with questions/comments. Screening: Naked Lunch (Cronenberg, 1991)

10/26 10/28

MIDTERM EXAM (IN CLASS)

Philosophical Posthumanism, Part II: Informationalism and Materialism 11/2 Screening: Dead Ringers (Cronenberg, 1988) 11/4 Reading: Noe, Chapter 1, An Astonishing Hypothesis Foucault, pg. 307-312; 322-328 Beard, Chapter 10

Technological Posthumanism, Part II: Blurring Boundaries 11/9 Screening: Crash (Cronenberg, 1996) 11/11 Reading: Sobchack, Chapter 7, Beating the Meat/Surviving the Text, or How to Get Out of the Century Alive Mazis, Chapter 1, Approaching Humans, Animals, and Machines Beard, Chapter 13 Assignment: Final Paper Proposal and Annotated Bibliography Due Be prepared to give a brief synopsis of your project to the class

Posthumanisms Fleshy Thought 11/16 Screening: eXistenZ (Cronenberg, 1999) 11/18 Reading: Mitchell, What Do Pictures Want?, Chapter 15, The Work of Art in the Age of Biocybernetic Reproduction Beard, Chapter 14

8 11/23 11/25 11/30 12/2 NO SCREENING THANKSGIVING BREAK NO CLASS THANKSGIVING BREAK Screening: Reading: A History of Violence (Cronenberg, 2005)

Mathijs, Chapter 10, Family Affairs: A History of Violence and Eastern Promises Miller, Chapter 1, Darwins Disgust Assignment: Course Wrap-Up (In Class) FINAL PAPER DUE AT 4:15pm SUBMIT ON ULEARN

12/9

9 Reading/Film Response Essays 1) Each student is responsible for completing two reading/film response essays. One must be completed before the midterm point (10/7), and one must be completed after midterm and before the end of classes (12/2). You may submit each response essay on a week of your choosing, but the essay must deal with the film and readings assigned for that week. I am doing this both to give you the freedom to write about a film and reading(s) of your choosing as well as to facilitate class discussion. My hope is that at least a couple people will choose to write an essay during any given week. 2) I will not allow you to write a make-up essay. If you fail to turn in an essay before the midterm, you have lost the opportunity to write that essay. 3) All essays must be at least 750 words, and essays must be submitted to uLearn before the beginning of class (4:30pm). I will not accept any essays written about a film or article due any week prior or any week in the future. 4) Essays should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. The upper left-hand corner of the first page should include your name, my name, the course name, and the date of submission. Include a word count at the end of your essay. 5) Each essay should focus on one chapter/article assigned for that week, and it should relate the reading to the film(s) screened for that week. I am looking for you to formulate a critical analysis of the relationship between the reading and the film(s). 6) More specifically, your response essay should incorporate these three things: a. A summary of the main argument of the article youre analyzing. b. One thought problem regarding that article. i. Remember: This thought problem should point to something that you find puzzling, troubling, or fascinating. A thought problem is something that you are working through or attempting to overcome, and you should explain this thought problem fully. ii. Then, based on this something that you describe, you should raise an important question, or make a thoughtful connection to one of our previous readings or a concept weve pursued. The question you should raise or thoughtful connection you can make should not be a simple question or statement. You should follow through and explain why this question is important or why it is necessary to think about the connection that you make. c. A connection, which you should explain fully, between the film(s) assigned for the week and the thought problem that youve raised. How does the film illustrate, complicate, or extend the thought problem youve discussed?

10 Final Paper Proposal Information and Template 1) Your final paper proposal should include the following information: a. The title of your final paper b. A thesis statement and summary of your argument. Be specific here. Let me know exactly what argument youre going make, the main points of the argument, and how youre going to support the argument. c. An annotated bibliography of at least five peer-reviewed, academic sources d. An outline of your final paper 2) For each source in your annotated bibliography, you should write a paragraph or two that identifies the key concerns/argument of the source and how it might help to answer your specific research question. Be specific, and convince me that youve chosen the best sources for your particular project. 3) Your annotated bibliography must contain at least five scholarly and/or peer-reviewed sources. You may use two sources from the class, but the other three must be the product of your own research. In other words, you cant just grab five readings from ereserves and call it a day. 4) Two examples of an annotated bibliography that you might find useful: a. http://owl.english.purdue.edu/owl/resource/614/01/ b. http://www.library.cornell.edu/olinuris/ref/research/skill28.htm 5) Remember, the more thorough and detailed you are, the better feedback I can provide. 6) This assignment must be uploaded to uLearn by the beginning of class (4:30pm) on November 11. The assignment is worth 15% of your final grade. 7) Here is a template for the proposal: a. Title of Final Paper b. Thesis and Summary of Main Argument c. Source #1 i. Annotation d. Source #2 i. Annotation e. Source #3 i. Annotation f. Source #4 i. Annotation g. Source #5 i. Annotation h. Source #n i. Annotation i. Outline of the Complete Paper

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Final Paper Assignment 1) You have two options for the final paper: a. Choose a Cronenberg film and develop an argument on a topic of your choosing. I will leave the exact topic up to you, but you should engage with the issues and concepts that weve discussed in class. That is, the paper should 1) place the film within the larger context of Cronenbergs work; and 2) place the film within the context of the posthuman theory weve discussed in class. b. Alternately, you may choose to analyze a non-Cronenberg film of your choosing. The exact topic is up to you but you should be sure to place your discussion of the film within the context of the posthuman theory weve discussed during the semester. 2) Your paper should address the following questions: a. How does the film fit within (or not fit within) the various models of posthumanism covered in class? b. What posthumanist concerns does the film have? c. How does the film visualize posthumanism? d. How can posthuman theory help us to understand the film? 3) This paper should expand on the work you did in your proposal, and you should expect to do significant rethinking/revising of your initial argument, incorporating any suggestions I might have provided you. Failure to take my revision suggestions into account will negatively affect your grade on this paper. 4) At least five peer-reviewed, scholarly sources are required, and these sources must be cited within the text and in a works cited page remember, any time you use another authors work (either paraphrased or directly quoted), you must cite that author. Plagiarism will result in an automatic zero for the assignment and possible academic sanctions. 5) The sources must be academic in nature, either from scholarly journals or books (no Wikipedia or film reviews). You may use two sources from the class, but the other three must be the product of your own research. The goal is to get you to put into practice the research techniques we discussed in class and to utilize the resources of the University library. Use the librarys research page to help begin your research: http://research.library.gsu.edu/film. 6) I expect you to engage thoughtfully with your sources. Dont merely pull quotations from sources and assume that they speak for themselves. You should explain how you are interpreting an authors argument and how it relates to your own argument. 7) Dont wait until the last minute to do your research. It will show in the finished product. Your research should be an ongoing project throughout the semester. 8) Your paper must be 2000-2500 words in length, and you should include a title page and bibliography (which should NOT be included in your word count). The title page should include your name, my name, the course name, the date of submission, and a title for your paper. 9) Formatting: Use MLA format for this paper. The essay should be typed in 12-point Times New Roman, 1-inch margins on all sides, and double-spaced. Each page should also include your last name and the page number in the upper right-hand corner. Include a word count. 10) This essay is meant to showcase all you have learned about Cronenberg and posthumanism this semester. As such, you should submit a polished essay with a clear thesis and argument. Impress me 11) The paper is due at the beginning of our final exam time 4:15pm on Thursday, December 9 and papers must be submitted on uLearn. Late papers will be deducted one letter grade for each day they are late. The final paper is worth 25% of your overall grade.

12 Bibliography Beard, William. The Artist as Monster: The Cinema of David Cronenberg. Rev. and expanded. ed. Toronto: University of Toronto Press, 2006. Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In Illuminations, edited by Hannah Arendt, 217-51. New York: Schocken Books, 1968. . "Paris: Capital of the Nineteenth Century." Perspecta 12 (1969): 165-72. Debord, Guy. Society of the Spectacle. Translated by Ken Knabb. London: Rebel Press, 2006. Deleuze, Gilles, and Flix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1987. Descartes, Ren. Discourse on Method and Meditations on First Philosophy. Translated by Donald A. Cress. 4th ed. Indianapolis: Hackett Pub., 1998. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1970. Haraway, Donna Jeanne. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991. . When Species Meet. Minneapolis: University of Minnesota Press, 2008. Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999. Marx, Karl. Capital: Volume 1: A Critique of Political Economy. Translated by Ben Fowkes. New York: Penguin Classics, 1990. Mathijs, Ernest. The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero, Directors' Cuts. New York: Wallflower Press, 2008. Mazis, Glen A. Humans, Animals, Machines: Blurring Boundaries. Albany: SUNY Press, 2008. Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Colin Smith. New York: Routledge, 1962. Miller, William Ian. The Anatomy of Disgust. Cambridge, Mass: Harvard University Press, 1997. Mitchell, W. J. Thomas. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994. . What Do Pictures Want?: The Lives and Loves of Images. Chicago: University of Chicago Press, 2005. No, Alva. Out of Our Heads: Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness. New York: Hill and Wang, 2009. Sobchack, Vivian Carol. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: University of California Press, 2004. Wolfe, Cary. What Is Posthumanism? Minneapolis: University of Minnesota Press, 2010.

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