“神人”:后人类影像的美学锋芒——基于日本科幻动画的考察  

“Homo Deus”:Spearhead of Aesthetics in Post-human Images-A Discussion Based on Japanese SF Animations

作　　者：刘欣 LIU Xin

机构地区：[1]杭州师范大学人文学院,浙江杭州311121

出　　处：《海峡人文学刊》2024年第3期98-106,158,共10页Journal of Humanities Across the Straits

基　　金：国家社科基金一般项目“新媒介文艺的‘中国图像’研究”(22BZW196)。

摘　　要：在后人类主义思潮兴起之前,走在前面的动画媒介已将对未来人类形态的想象推向极致,从20世纪90年代开始,SF动画中开始出现基于未来时空的神人想象,人在高度技术化的世界中化身为类神生物,此类“神人”影像与后人类主义思潮构成奇妙的镜像关系。在动画媒介展示的后人类图景中,我们得以直面“神人”这一后人类影像激进的美学锋芒,窥见“神人”的科幻乌托邦作为真实对象的力量,进而反思此类影像叙事面对社会历史现实的无力感。在“神人”之后,此类动画对后人类叙事的开发似已逼近极限,这或许是当前全球语境下SF动画停滞不前的原因之一。Before the rise of optimistic post-humanism Landscape,the animation media has pushed the imagination of post-human form to the extreme.Since the 1990s,Japanese animation began to appear theological imagination,which was based on the future time and space.In a highly technical world,people could turn into a god,this“Homo Deus”image constituted a fantastic echo to the trend of post-humanism.In the post-human perspectives presented by the animation,we can confront the spearhead of aesthetics in post-human images,get a glimpse of the power of the SF utopia of“Homo Deus”as a real object,and reflect on the powerlessness of the post-human imagination of“Homo Deus”in the face of historical reality.After the coming of“Homo Deus”,the development of post-human imagination in this kind of animation seems to have reached its limit,which is one of the reasons for the stagnation of SF animation in the current global contexts.

关 键 词：SF动画 后人类 神人 生命政治 

分 类 号：J901[艺术—电影电视艺术]