未来城市的东方魅影——赛博朋克电影的想象地理与空间政治

Oriental Phantoms in Future Cities:Imaginary Geography and Spatial Politics in Cyberpunk Films

东方景观元素是赛博朋克电影显著的视觉表征。科幻未来城市的空间构造不仅是一种美学风格表述,也传达出丰富的权力想象和空间政治逻辑。赛博朋克城市中的东方空间影射出西方中心主义对“东方”的隐秘幻想,而这种空间想象随着世界文化格局的变化被不断赋予新的内涵。20世纪80到90年代,赛博朋克城市幻景中的东方元素呈现出一种侵略性,其时全球化资本的结构重置带来的焦虑感被表述为对未来城市文化杂交和种族混居的恐惧。20世纪90年代末开始,赛博朋克电影中的混杂化东方空间被赋予文化抵制内涵,为处于科技化城市机器压迫下的欧美白人主体提供了一个蕴含解放意义的“异托邦”想象之域。而在近年来的赛博朋克电影作品中,曾经的异托邦东方空间被抽空其抵制意义,作为一种地理消费元素,被植入数字技术打造出的视觉奇观中。

The cityscape of cyberpunk films is characterized by the pastiche of different oriental elements.The spatial construction of cyberpunk cities is not only an aesthetic statement,but also an expression of power structures and spatial politics.It reflects the fantasy and anxiety of Euro-centralism towards the“East”,and this spatial imaginary is endowed with different connotations with the changing global cultural landscape.From the 1980s to the 1990s,the orient elements were presented as a kind of aggressiveness and anxiety brought about by the structural reset of globalized capital,which is a symbol of the Western fear of city cultural hybridity and racial cohabitation.Starting at the 1990s,the hybridized oriental space in cyberpunk films was imbued with a cultural resistance meaning,providing a realm of“heterotopia”imagination imbued with liberation for the Western subjects oppressed by the technologized urban machine.In the latest cyberpunk films,the once heterotopian oriental space has been emptied of its resistance meaning and,as a geographical consumption element,has been implanted into the visual spectacle created by digital technology.