上帝,死亡与城市——从《银翼杀手》到《赛博朋克2077》的空间性与主体性

God,Death and the City-Spatiality and Subjectivity from Blade Runner to Cyberpunk 2077

《赛博朋克2077》重新激发了人们对赛博朋克的兴趣,但对这场文化和思想运动的精髓,尚需回归源头进行深入洞察。从《银翼杀手》到续作《银翼杀手2049》的发展线索,呈现出丰富的内涵和启示。前作已经将空间与体验、城市与主体密切关联在一起,突显出神学这个超越性向度。这些要点在库哈斯对城市建筑的研究、索布切克对科幻电影的思考中得到进一步深化,并最后回归于城市之死亡与主体之空洞这两个令人焦虑的主旨。续作从“有死”到“出生”的转变成为鲜明主题,死而复生的生命主义式契机又重新带给人类以希望。《赛博朋克2077》的城市图景虽然再度灰暗,但亦暗示出否定性这个克服困境的可行维度。

Cyberpunk 2077 has revitalized people’s interest in cyberpunk,but the essence of this cultural and intellectual movement has yet to return to its source for deeper retrospection.The thread of development from Blade Runner to its sequel,Blade Runner 2049,presents a wealth of connotations and revelations.The previous film had already closely associated space with experience,the city with the subject,and particularly highlighted theology as a transcendental vector.These points are further deepened in Rem Koolhaas’s study of urban architecture and Vivian Sobchack’s reflections on science fiction film,and finally return to the anxiety_inducing themes of the death of the city and the hollowness of the subject.The sequel’s transition from“death”to“birth”becomes a distinctive theme,and the vitalist opportunity of death and resurrection brings hope to mankind again.Although the cityscape of Cyberpunk 2077 is once again gray,it also hints at denial as a viable dimension for overcoming adversity.