Published 2025-09-11
Keywords
- adaptation,
- climate change,
- mutation,
- Chthulucene,
- posthuman
- transhumanism,
- speciesism ...More
Copyright (c) 2025 Annamária Hódosy

This work is licensed under a Creative Commons Attribution 4.0 International License.
How to Cite
Abstract
Fukuyama posits that the greatest risk associated with contemporary biotechnology lies in its potential to fundamentally alter human nature, ushering in a “post-human” era that will raise new questions concerning human identity. The biotechnological revolution is currently advancing in three primary directions, with a central focus on genetic manipulation that enables the selection and modification of embryos to enhance physical performance and disease resistance. Popular films such as Patient Zero and V-Wars depict the emergence of new, mutated species and the downfall of the old world order. These new entities, while physically superior and more intelligent, are often detached from human values and treat humans as subordinate beings, reflecting and avenging humanity’s own tendencies toward racism and speciesism. In other works, such as the Helix series and The Titan, mutations are portrayed as responses to climate change, where genetic modifications are employed to help humanity adapt to an evolving environment, leading not only to biological transformations but also to significant social and ecological shifts. In Annihilation, mutation triggers an accelerated form of evolution, in which the creation of new species seems to herald the emergence of a new order within ‘natureculture,’ resonating with Haraway’s notion of the ‘Chthulucene.’ Through these biological transformations, the films explore questions of responsibility, (bio)ethics and politics, highlighting the shifting power dynamics in a world where humans are no longer the dominant species.
References
- Bellin, J. D. (2009). Us or them!: Silent Spring and the “big bug” films of the 1950s. Extrapolation, 50(1), 145–168.
- Biermann, F., & Lövbrand, E. (2019). Encountering the Anthropocene: Setting the scene. In F. Biermann & E. Lövbrand (Eds.), Anthropocene encounters: New directions in green political thinking (pp. 1–22). Cambridge University Press.
- Bishop, K. (2013). Battling monsters and becoming monstrous: Human devolution in The Walking Dead. In M. Levina & T. Bui (Eds.), Monster culture in the 21st century: A reader (pp. 73–85). Bloomsbury.
- Blazan, S. (2021). Vegetomorphism: Exploring the material within the aesthetics of the ecoGothic in Stranger Things and Annihilation. In S. Blazan (Ed.), Haunted nature: Entanglements of the human and the nonhuman (pp. 67–90). Palgrave Macmillan.
- Bowler, P. J. (2005). Variation from Darwin to the modern synthesis. In B. Hallgrímsson & B. K. Hall (Eds.), Variation: A central concept of biology (pp. 9–26). Academic Press.
- Braidotti, R. (2013). The posthuman. Polity Press.
- Bryant, L. R. (2013). Black. In J. J. Cohen (Ed.), Prismatic ecology: Ecotheory beyond green (pp. 290–310). University of Minnesota Press.
- Buell, L. (1998). Toxic discourse. Critical Inquiry, 24(3), 639–665.
- Collomb, J.-D. (2012). New beginning: The counter-culture in American environmental history. Cercles, 22, 54–69.
- Deitering, C. (1996). The postnatural novel: Toxic consciousness in fiction in the 1980s. In C. Glotfelty & H. Fromm (Eds.), The ecocriticism reader: Landmarks in literary ecology (pp. 194–203). University of Georgia Press.
- Dudenhoeffer, L. (2014). Embodiment and horror cinema. Palgrave Macmillan.
- Eckersley, R. (1992). Environmentalism and political theory: Toward an ecocentric approach. UCL Press.
- Fukuyama, F. (2002). Our posthuman future: Consequences of the biotechnology revolution. Farrar, Straus and Giroux.
- Gruson-Wood, J. (2016). Dead meat: Horror, disability, and eating rituals. In S. Siddique & R. Raphael (Eds.), Transnational horror cinema: Bodies of excess and the global grotesque (pp. 83–111). Palgrave Macmillan.
- Hageman, A. (2019). Why you should lichen Alex Garland’s Annihilation. Gothic Nature, 1, 258–262. https://gothicnaturejournal.com/
- Haraway, D. J. (1987). A manifesto for cyborgs: Science, technology, and socialist feminism in the 1980s. Australian Feminist Studies, 2(4), 1–42.
- Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.
- Hauskeller, M., Philbeck, T. D., & Curtis, D. (2015). Posthumanism in film and television. In M. Hauskeller, T. D. Philbeck, & D. Curtis (Eds.), The Palgrave handbook of posthumanism in film and television (pp. 1–10). Palgrave Macmillan.
- Hayles, K. N. (2024). Detoxifying cybernetics: From homeostasis to autopoiesis and beyond. In Y. Hui (Ed.), Cybernetics for the 21st century (Vol. 1, pp. 85–100). Hanart Press.
- Hemsworth, W. (2022, June 20). Portable electron microscope brings a hidden world into view. McMaster University Daily News. https://dailynews.mcmaster.ca/articles/portable-electron-microscope-brings-a-hidden-world-into-view/
- Kac, E. (2007). Introduction: Art that looks you in the eye—Hybrids, clones, mutants, synthetics, and transgenics. In E. Kac (Ed.), Signs of life: Bio art and beyond (pp. 1–27). MIT Press.
- Kérchy, A. (2018). Dilemmák a társadalmi nemek tudománya és a fogyatékosságtudomány metszéspontjain [Dilemmas of the intersections between the fields of social gender studies and disability studies]. In A. Kérchy, A nő nyelvet ölt: Feminista narratológiai, esztétika, testelméleti tanulmányok [The woman takes shape: Studies in feminist narratology, aestethics, body theory] (pp. 69–80). JatePress.
- Kohák, E. (1998a). Should auld acquaintance be forgot…? In K. Brinkmann, R. S. Cohen, & A. I. Tauber (Eds.), Philosophies of nature: The human dimension—In celebration of Erazim Kohák (pp. 249–256). Springer.
- Kohák, E. (1998b). Varieties of ecological experience. In K. Brinkmann, R. S. Cohen, & A. I. Tauber (Eds.), Philosophies of nature: The human dimension—In celebration of Erazim Kohák (pp. 257–271). Springer.
- Kortekallio, K. (2020). Becoming-instrument: Thinking with Jeff VanderMeer’s Annihilation and Timothy Morton’s hyperobjects. In S. Karkulehto, A.-K. Koistinen, & E. Varis (Eds.), Reconfiguring human, nonhuman and posthuman in literature and culture (pp. 57–75). Routledge.
- Leggett, J. (2014). The energy of nations: Risk blindness and the road to renaissance. Routledge.
- Leikam, S., & Leyda, J. (2017). Cli-fi and American studies: An introduction. Amerikastudien / American Studies, 62(1), 109–114. http://www.jstor.org/stable/44982308
- Limpár, I. (2023). Able zombies: Enduring bodies subverting the biblical tradition in M. R. Carey’s The girl with all the gifts and Daryl Gregory’s Raising Stony Mayhall. In S. Bacon (Ed.), Faith and the zombie: Critical essays on the end of the world and beyond (pp. 229–240). McFarland.
- Lovelock, J. E. (1991). Gaia: The practical science of planetary medicine. Oxford University Press.
- Masco, J. (2020). The nuclear borderlands. Princeton University Press.
- McKibben, B. (2010). Eaarth: Making a life on a tough new planet. Times Books.
- Mosey, R. M. (2009). 2030: The coming tumult—Unlimited growth on a finite planet. Algora Publishing.
- Nagy, P. H. (2019). A fajzatok eredete [The origin of creatures] (Moskát Anita: Irha és bőr). Alföld, 11, 130–137.
- Nash, L. (2007). Inescapable ecologies: A history of environment, disease, and knowledge. University of California Press.
- Nayar, P. K. (2014). Posthumanism. Polity Press.
- Nemes, Z. M. (2018). A nagy szakadék: Xenoökológia a természet “halála” után [The great rift: Xenoecology after the “death” of nature]. Filmvilág, 8, 4–7.
- Oppermann, S. (2016). From posthumanism to posthuman ecocriticism. Relations: Beyond Anthropocentrism, 4(1), 230–242.
- Orr, D. (2002). The nature of design: Ecology, culture and human invention. Oxford University Press.
- Parker, E. (2020). The forest and the ecoGothic: The deep dark woods in the popular imagination. Palgrave Macmillan.
- Parker, E., & Poland, M. (2019). Gothic nature: An introduction. Gothic Nature, 1, 1–29.
- Roden, D. (2015). Posthuman life: Philosophy at the edge of the human. Routledge.
- Salmose, N. (2015). We spiders: Spider as the monster of modernity in the big bug and nature-on-a-rampage film genres. In K. Gregersdotter, J. Höglund, & N. Hållén (Eds.), Animal horror cinema: Genre, history and criticism (pp. 146–166). Palgrave Macmillan.
- Schmeink, L. (2016). Biopunk dystopias: Genetic engineering, society, and science fiction. Liverpool University Press.
- Sinkala, M. (2023). Mutational landscape of cancer-driver genes across human cancers. Scientific Reports, 13, 12742. https://doi.org/10.1038/s41598-023-39608-2
- Sontag, S. (1978). Illness as metaphor. Farrar, Straus and Giroux.
- Tsutsui, W. M. (2007). Looking straight at Them! Understanding the big bug movies of the 1950s. Environmental History, 12(2), 237–253.
- Yacowar, M. (2003). The bug in the rug: Notes on the disaster genre. In B. K. Grant (Ed.), Film genre reader III (pp. 277–295). University of Texas Press.
- Film references
- Appelbaum, J., & Nemec, A. (Directors). (2015–2017). Zoo [TV series]. Midnight Radio; Tree Line Film.
- Banno, Y. (Director). (1971). Godzilla vs. Hedorah [Film]. Toho Co., Ltd.
- Bouwer, J. (Director). (2021). Gaia [Film]. XYZ Films.
- Choi, H.-Y. (Director). (2021). The silent sea [TV series]. Artist Company.
- Cronenberg, D. (Director). (2022). Crimes of the future [Film]. Serendipity Point Films.
- Douglas, G. (Director). (1954). Them! [Film]. Warner Bros.
- Frankenheimer, J. (Director). (1979). Prophecy [Film]. Paramount Pictures.
- Garland, A. (Director). (2018). Annihilation [Film]. Paramount Pictures; Skydance Media; DNA Films.
- Girdler, W. (Director). (1977). Day of the animals [Film]. Film Ventures International.
- Heldens, L. (Director). (2019). The passage [TV series]. 20th Television.
- Hobbs, F. (Director). (1973). Godmonster of Indian Flats [Film]. Fanfare Films.
- Honda, I. (Director). (1954). Godzilla [Film]. Toho Co., Ltd.
- Kainz, K., & Arthy, N. (Directors). (2018–2020). The rain [TV series]. Miso Film.
- Mickle, J., & Schwartz, B. (Directors). (2021–2024). Sweet tooth [TV series]. Warner Bros. Television Studios.
- Moore, R. D., Obst, L., Maeda, S., & Turner, B. (Directors). (2014–2015). Helix [TV series]. Sony Pictures Television.
- Ruff, L. (Director). (2018). The titan [Film]. Motion Picture Capital; Netflix.
- Ruzowitzky, S. (Director). (2018). Patient zero [Film]. Screen Gems.
- Sagal, B. (Director). (1971). The omega man [Film]. Warner Bros.
- Teague, L. (Director). (1980). Alligator [Film]. Group 1 Films.
- Turner, B., & Adams, T. (Directors). (2019). V-wars [TV series]. High Park Entertainment.