一個更好或更糟的未來? 《攻殼機動隊》、《銀翼殺手》與《雲端情人》中的後人類困境
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2025
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科幻不是完全憑空臆測，最具權威的科學期刊《自然》(Nature)中就設有〈未 來〉(Futures)專欄，透過科幻小說「對未來預期，對當下關注。」綜觀百年來的 科幻電影，依主題可概分三類:外星生物、時空旅行與人工生命。其中，隨著科技 的高速進步，虛擬實境擴張、人工智慧發展、賽博格的增生，科幻裡的人工生命與 人機合一情節正如寓言式地在現實世界發生。唐納・哈洛威(Donna Haraway)提出〈賽伯格宣言〉(Cyborg Manifesto)， 指出人與物種、生物與機器、虛擬與實體的邊界將變得模糊，鬆動了對「大寫之人」 的挑戰;而凱瑟琳・海爾斯(Katherine Hayles)提出後人類是一種概念，體現了放 棄過去以人為主體思考，將人類想像成一個訊息處理器，在其觀點中，我們早已成 為後人類。本文爬梳科幻電影發展軌跡，藉由後人類學者的理論，著墨分析《銀翼殺手》 (Blade Runner)、《攻殼機動隊》(Ghost in the Shell)與《雲端情人》(Her)三 部經典，分析其中的仿生人、賽博格、人工智慧等非典型人類是如何面對「生而不 為人」的困境。本文將藉由影像與真實的越界，對話身體與人性的越界，希冀讓科 幻電影的先行，提供人類面對科技並邁向後人類時代主體轉變時的應對思考。
Science fiction is not entirely speculative. Nature, the most authoritative scientific journal, has a special section called Futures, which anticipates the future and cares about the present through science fiction. Over the past century, science fiction films can be divided into three categories according to their themes: extraterrestrial life, time travel and artificial life. With the rapid advancement of technology, the expansion of virtual reality, the development of artificial intelligence, and the proliferation of cyborgs, the artificial life and human-machine unity in sci-fi has been happening in the real world in an allegorical manner.Donna Haraway proposed the A Cyborg Manifesto, pointing out that the boundaries between humans and species, organisms and machines will become blurred; while Katherine Hayles proposed the concept of posthuman as a kind of concept, which reflects the abandonment of the human-oriented thinking and imagines the human being as an information processor, in which we have already become posthuman.This paper crawls through the trajectory of science fiction cinema and analyses three classics, Ghost in the Shell, Blade Runner and Her, through the theories of posthumanists, to analyse how atypical humans, such as bionics, cyborgs and artificial intelligence, face the dilemma of being born as non-humans. Through the transgression between image and reality, this paper will dialogue with the transgression between the body and human nature, hoping that the precedence of sci-fi film can provide a response for human beings to think about when they face the change of subject matter in the face of science and technology and towards the post-human era.
Science fiction is not entirely speculative. Nature, the most authoritative scientific journal, has a special section called Futures, which anticipates the future and cares about the present through science fiction. Over the past century, science fiction films can be divided into three categories according to their themes: extraterrestrial life, time travel and artificial life. With the rapid advancement of technology, the expansion of virtual reality, the development of artificial intelligence, and the proliferation of cyborgs, the artificial life and human-machine unity in sci-fi has been happening in the real world in an allegorical manner.Donna Haraway proposed the A Cyborg Manifesto, pointing out that the boundaries between humans and species, organisms and machines will become blurred; while Katherine Hayles proposed the concept of posthuman as a kind of concept, which reflects the abandonment of the human-oriented thinking and imagines the human being as an information processor, in which we have already become posthuman.This paper crawls through the trajectory of science fiction cinema and analyses three classics, Ghost in the Shell, Blade Runner and Her, through the theories of posthumanists, to analyse how atypical humans, such as bionics, cyborgs and artificial intelligence, face the dilemma of being born as non-humans. Through the transgression between image and reality, this paper will dialogue with the transgression between the body and human nature, hoping that the precedence of sci-fi film can provide a response for human beings to think about when they face the change of subject matter in the face of science and technology and towards the post-human era.
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科幻電影, 後人類, 賽博格, 人工生命, 人工智慧, Science-Fiction, Posthuman, Cyborg, Artificial life, AI