부산대학교 도서관

Recently, the radical technological development expects an appearance of trans-human that overcomes the limit of human body. While the investment and research of trans-human in sciences technologies, the reflection of post-human beyond human's own ontological identity in human sciences should be conducted. Thus this article explores the ontological representation of post-human through an analysis of post-human in visual contents which are Ghost in the Shell (1995), Innocence: Ghost In The Shell 2 (2004), Avalon (2001) mede by Mamoru Oshii, a Japanese animation director. As we have seen from a lot of scientific films, they show the meaningful root to expect post-human with combination of human and technology. Also, three films do not treat only the change of human body by scientific technology to which trans-humanism aims. So this study focuses on body, ghost, world as elements relating post-human in three works. To make a short story in advance, Ghost in the shell gives the questions regarding post-human's ontological identity by the union of two ghosts being free from body. Innocence: Ghost in the shell 2 deals with the relationships about human and post-human based on an attack of sex-android. Avalon shows various worlds as simulacre treating the expansion of external spaces where post-human lives. Three films focusing on ontological identity and world of post-human make us think about the problems when human lives with post-human, and pose the need of various discussions to solve them beforehand. That is not only meaningful significance of this study but also the reason why we pay attention to them.