從頹敗之城到豐饒之都：淺談《攻殼機動隊》二部曲中亞洲城市影像的文化轉譯／義

From the City of Decay to the City of Exuberance: On the Cultural Translation of Asian Cityscapes in Mamoru Oshii's Ghost in the Shell and Innocence

本文擬由全球化的角度出發討論日本科幻動畫導演押井守鉅著《攻殼機動隊》（Ghost in the Shell）及其續集《攻殼機動隊2：Innocence》（Innocence）中的亞洲城市影像轉譯／義。第一部份「戰後日本國族認同與科幻想像」討論科幻動畫中的高科技呈現在戰後日本國族認同重建過程中所扮演的角色，以及日本在此建構過程中面對西方高科技想像時所隱藏的心理機制與張力。第二部份「亞洲城市影像轉譯／義與東亞全球化」則以日本科幻動畫經典《攻殼機動隊》（Ghost in the Shell）及其續集Innocence中的城市影像轉譯為起點，試圖分析兩片中對於亞洲城市形象／影像再現的轉變，以及在此轉變中日本國族認同模式的變遷：就《攻殼機動隊》而言，討論的重點在於本片的影像轉譯／義過程如何利用西方科幻影片中東方主義化了的亞洲影像（Orientalized image of Asia）來區隔「高科技」的日本與其他「落後」、「雜亂」、「未啟蒙」的亞洲城市地景；而對於其續集Innocence的觀察面向則側重在經歷了現代化、全球化過程後的亞洲城市地景呈現，以及此充滿各式資本、活力充沛的「現代化亞洲」對於向來自居亞洲現代化之首的日本所帶來的衝擊、摩擦、與張力。

This paper discusses the cultural translation of Asian cityscapes in Mamoru Oshii's Ghost in the Shell and its sequel Innocence from the perspective of globalization. The discussion is divided into two parts. The first part focuses on the pivotal role that SF imaginary plays as Japan seeks to re-establish its national identity after the great defeat of World War II, together with the psychological mechanism and tension underlying this re-structuration. The second part starts from an analysis of the cultural translation of Asian cityscapes in Ghost in the Shell and Innocence, hoping to tease out the transformation of how Japan adjusts itself in relation to an Asia that has been undergoing a drastic process of globalization.