2Kaja Silverman, The Subject of Semiotics, New York: Oxford UP, 1983, p. vii.
3William Brown, "Man without a Movie Camera-Movies without Men", in Warren Buckland (ed),Film Theory and Contemporary Hollywood Movies, London & New York: ILoutledge, 2009, p. 67, pp. 66-85, p. 68, p. 69, p. 73, p. 74.
4Neil Badmington, Posthumanism, New York: Palgrave, 2000, p. 3, p. 6, p. 7, p. 7.
5Ihab Hassan,"Prometheus as Performer: Toward a Posthumanist Culture? A University Masque in Five Scenes", Georgia Review 31(1977): 843.
6Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics, Chicago & London: University of Chicago Press, 1999, p. 7, p. xii, pp. 2-3.
7Donna Haraway, Simians, Cyborgs, and Women: The Reinvention of Nature, London & New York: R.outledge, 1991, p. 163.
8《类人猿、赛博格和女性:自然的再创造》第8章,第149页至182页.
9Cary Wolfe, What is Posthumanism? Minneapolis: University of Minnesota Press, 2010, pp. xxv-xxvi, p. xii.
10Leon Gurevitch, "The Cinemas of Interactions: Cinematics and the'Game Effect' in the Age of Digital Attractions", Senses of Cinema 57 (2010).
