From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development.Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity''s entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire.In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development.Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity''s entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire.In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

As someone approaches the end of their life, it is vitally important that they receive quality care and support, that their wishes are met, and that they are treated with dignity and respect. Pathways through Care at the End of Life is a comprehensive guide to providing excellent, person-centred end of life care. Following a pathway from initial conversations about end of life to care in the last days of life and after death, it covers assessing need and planning care, co-ordinating care between different agencies, and ensuring quality in different settings, such as at home, in a hospice, or in hospital. Good practice guidance on communication, ensuring the person's needs are met, support for their family and how to facilitate a good death is given. Case studies illustrate real life practice, and questions throughout each chapter encourage reflective practice. This book will be essential reading for all those working with people at the end of life, such as nurses, social workers, GPs and home carers, as well as students in these fields.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

A surreal and darkly humorous vision, David Lynch’s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry’s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead’s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch’s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch’s ‘dream of dark and troubling things’ became a model midnight movie and later grew in reputation and influence across broader film culture.From the opening chapter on Eraserhead’s famous ‘baby’ to the final chapter on the film’s tentacular influence, Henry’s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film’s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film’s significance as Lynch’s first feature, but also advances a wider case for appreciating its status as a film classic.

A surreal and darkly humorous vision, David Lynch''s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry''s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead''s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch''s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch''s ''dream of dark and troubling things'' became a model midnight movie and later grew in reputation and influence across broader film culture. From the opening chapter on Eraserhead''s famous ''baby'' to the final chapter on the film''s tentacular influence, Henry''s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film''s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film''s significance as Lynch''s first feature, but also advances a wider case for appreciating its status as a film classic.

A surreal and darkly humorous vision, David Lynch''s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry''s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead''s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch''s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch''s ''dream of dark and troubling things'' became a model midnight movie and later grew in reputation and influence across broader film culture. From the opening chapter on Eraserhead''s famous ''baby'' to the final chapter on the film''s tentacular influence, Henry''s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film''s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film''s significance as Lynch''s first feature, but also advances a wider case for appreciating its status as a film classic.

As someone approaches the end of their life, it is vitally important that they receive quality care and support, that their wishes are met, and that they are treated with dignity and respect. Pathways through Care at the End of Life is a comprehensive guide to providing excellent, person-centred end of life care. Following a pathway from initial conversations about end of life to care in the last days of life and after death, it covers assessing need and planning care, co-ordinating care between different agencies, and ensuring quality in different settings, such as at home, in a hospice, or in hospital. Good practice guidance on communication, ensuring the person's needs are met, support for their family and how to facilitate a good death is given. Case studies illustrate real life practice, and questions throughout each chapter encourage reflective practice. This book will be essential reading for all those working with people at the end of life, such as nurses, social workers, GPs and home carers, as well as students in these fields.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development.Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity''s entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire.In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development.Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity''s entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire.In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theoryan ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

As someone approaches the end of their life, it is vitally important that they receive quality care and support, that their wishes are met, and that they are treated with dignity and respect. Pathways through Care at the End of Life is a comprehensive guide to providing excellent, person-centred end of life care. Following a pathway from initial conversations about end of life to care in the last days of life and after death, it covers assessing need and planning care, co-ordinating care between different agencies, and ensuring quality in different settings, such as at home, in a hospice, or in hospital. Good practice guidance on communication, ensuring the person's needs are met, support for their family and how to facilitate a good death is given. Case studies illustrate real life practice, and questions throughout each chapter encourage reflective practice. This book will be essential reading for all those working with people at the end of life, such as nurses, social workers, GPs and home carers, as well as students in these fields.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

A surreal and darkly humorous vision, David Lynch’s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry’s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead’s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch’s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch’s ‘dream of dark and troubling things’ became a model midnight movie and later grew in reputation and influence across broader film culture.From the opening chapter on Eraserhead’s famous ‘baby’ to the final chapter on the film’s tentacular influence, Henry’s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film’s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film’s significance as Lynch’s first feature, but also advances a wider case for appreciating its status as a film classic.

A surreal and darkly humorous vision, David Lynch''s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry''s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead''s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch''s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch''s ''dream of dark and troubling things'' became a model midnight movie and later grew in reputation and influence across broader film culture. From the opening chapter on Eraserhead''s famous ''baby'' to the final chapter on the film''s tentacular influence, Henry''s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film''s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film''s significance as Lynch''s first feature, but also advances a wider case for appreciating its status as a film classic.

A surreal and darkly humorous vision, David Lynch''s Eraserhead (1977) has been recognised as a cult classic since its breakout success as a midnight movie in the late 1970s.Claire Henry''s study of the film takes us into its netherworld, providing a detailed account of its production history, its exhibition and reception, and its elusive meanings. Using original archival research, she traces how Lynch took his nightmare of Philadelphia to the City of Dreams, infusing his LA-shot film with the industrial cityscapes and sounds of the Callowhill district. Henry then engages with Eraserhead''s irresistible inscrutability and advances a fresh interpretation, reframing auteurism to centre Lynch''s creative processes as a visual artist and Transcendental Meditation practitioner. Finally, she outlines how Lynch''s ''dream of dark and troubling things'' became a model midnight movie and later grew in reputation and influence across broader film culture. From the opening chapter on Eraserhead''s famous ''baby'' to the final chapter on the film''s tentacular influence, Henry''s compelling and authoritative account offers illuminating new perspectives on the making and meaning of the film and its legacy. Through an in-depth analysis of the film''s rich mise en scène, cinematography, sound and its embeddedness in visual art and screen culture, Henry not only affirms the film''s significance as Lynch''s first feature, but also advances a wider case for appreciating its status as a film classic.

As someone approaches the end of their life, it is vitally important that they receive quality care and support, that their wishes are met, and that they are treated with dignity and respect. Pathways through Care at the End of Life is a comprehensive guide to providing excellent, person-centred end of life care. Following a pathway from initial conversations about end of life to care in the last days of life and after death, it covers assessing need and planning care, co-ordinating care between different agencies, and ensuring quality in different settings, such as at home, in a hospice, or in hospital. Good practice guidance on communication, ensuring the person's needs are met, support for their family and how to facilitate a good death is given. Case studies illustrate real life practice, and questions throughout each chapter encourage reflective practice. This book will be essential reading for all those working with people at the end of life, such as nurses, social workers, GPs and home carers, as well as students in these fields.