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This article develops a comprehensive theoretical framework for analysing the representation of artificial intelligence in contemporary cinema through the lens of posthumanism. Drawing on the foundational work of Donna Haraway, N. Katherine Hayles, Rosi Braidotti, and Cary Wolfe, the article argues that AI cinema functions as a mode of posthuman philosophy, using audiovisual form to interrogate anthropocentric assumptions about consciousness, identity, and ethical responsibility. The framework synthesises post humanist thought with film theory, demonstrating how concepts such as cyborg ontology, distributed agency, relational identity, and post-anthropocentric ethics can illuminate cinematic constructions of non-human subjectivity. The article identifies a significant gap in existing scholarship, which has largely treated AI cinema either through genre studies or technological realism without adequately engaging with post humanist philosophy. By integrating these theoretical traditions, the framework provides new analytical tools for understanding how films such as Ex Machina, Blade Runner 2049, Her, and After Yang construct experiences of artificial consciousness through narrative structure, aesthetic strategies, and spectatorial positioning. The article concludes that contemporary AI cinema invites audiences not merely to observe posthuman ideas but to inhabit them, thereby expanding the boundaries of moral imagination and challenging audiences to rethink what it means to be human in technologically saturated worlds.