Posthumanism, as recent discussions on the issue suggest, can be regarded as a survival strategy adopted by minority groups to subvert the dominant regime in the age of globalization: the posthuman imaginary of a hybridized subject facilitates the possibility of an assemblage among subjects of different races, ethnicities, classes, genders, and sexualities. However, this strategy fails to address the complicity between the posthuman conception of ＂prosthesis＂ and late capitalism, whose logic of decentralization depends on the exploitation of multiplicity and multiculturalism instead of a monolithic, top-down disciplinary regime. This essay attempts to address the ethical question of what it means to be posthuman in Japanese animation director Mamoru Oshii's three major sci-fi films: ＂Ghost in the Shell, Innocence＂, and ＂The Sky Crawlers＂. As the analysis will show, these three movies foreground the dynamic relationship between the posthuman subject and the Symbolic Order and explore the vexed question of what it means to be an ethical subject in relation to the ever changing structure of the Symbolic Order. The essay is divided into three sections. The first section discusses the relationship between ＂Subject,＂ ＂Structure＂ and its ＂Exception＂ by resorting to Jacques Lacan's psychoanalysis and Jacques Derrida's analysis of structure. The second section takes Mamoru Oshii's ＂Ghost in the Shell＂ and ＂Innocence＂ as the main texts to explore how the posthuman subject in these two texts responds to the structural change of the Symbolic Order as it transforms from the dominance of nation to capitalism. The third section takes ＂The Sky Crawlers＂ as a case in point to illustrate how anxiety can be regarded as an affect that points to a line of flight within a Symbolic Order that sustains itself by the cultural logic of late capitalism.