Ambivalent Portrayals of Female Cyborgs in Oshii Mamoru＇s Ghost in the Shell and Innocence

What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.

论动态影像中的静止

本文通过分析电影—装置的影像运行机制,发现在电影中存在着三个时刻:拍摄时刻、放映时刻与观看时刻,而发生在拍摄时刻与放映时刻之间的机械移行(具体移行),最终转换为放映时刻与观看时刻重叠中的画面移行(抽象移行)。机械—画面移行概念纠正了我们从单一运动的视角看待画面的静止,而赋予静止画面以双项取值(x,y)。从这一影像函数中我们最终得以揭示的,是电影——或者作为更大范畴的动态影像中,所孕育的运动与静止的共在性。动态影像的静止视域不仅召唤出潜藏在影像背后的运动——摄影机—放映机的机械运动,还富有洞见地揭示了“缓行电影”中所蕴含的纯粹物质世界的“静止美学”。而这些都是在叙事影像晓畅的运动中被遮蔽的。