關於 social imagination ，我們在網路上蒐集到這些相關的討論、資訊與評價

#IELTSSPEAKING PART 3 - EFFECTS [Kèm PDF]
🎗Can hobbies have negative effects?
Yes. I think if you spend too much time on your hobbies, it can affect other aspects of your life. For example, if one of your hobbies is playing games, and you spend hours playing Plants vs. Zombies or Angry Birds, then you will have little time for your studies and your social life. Another example is if you love watching movies, and after a hard day at work, instead of doing exercise, you spend all evening watching your favourite films, which is really harmful to your health. So, I think whether a hobby has negative effects or not depends on how we spend time doing it.

Sở thích có thể có tác động tiêu cực không?
Có chứ ạ. Tôi nghĩ rằng nếu bạn dành quá nhiều thời gian cho sở thích của mình, nó có thể ảnh hưởng đến các khía cạnh khác trong cuộc sống của bạn. Ví dụ: nếu một trong những sở thích của bạn là chơi game và bạn dành hàng giờ để chơi Plants vs. Zombies hoặc Angry Birds, thì bạn sẽ có ít thời gian cho việc học và đời sống xã hội của mình. Một ví dụ khác là nếu bạn thích xem phim, và sau một ngày làm việc mệt mỏi, thay vì tập thể dục, bạn dành cả buổi tối để xem những bộ phim yêu thích, điều này thực sự có hại cho sức khỏe của bạn. Vì vậy, tôi nghĩ rằng một sở thích có ảnh hưởng tiêu cực hay không phụ thuộc vào cách chúng ta dành thời gian thực hiện nó.

🎗What effects do you think humans have on wild animals?
I think human activities have great impacts on wildlife. First, we are destroying their habitats by burning or clearing forests for agriculture or tourism. Thousands of wild animals have died, and some species have become extinct because of habitat destruction. Second, lots of wild animals are suffering because of illegal hunting and poaching. For example, we can see many videos or pictures about rhinos losing their horns, wild elephants losing their tusks or leopards being killed for their fur.

Bạn nghĩ con người có ảnh hưởng gì đến động vật hoang dã?
Tôi nghĩ rằng các hoạt động của con người có tác động lớn đến động vật hoang dã. Đầu tiên, chúng ta đang hủy hoại môi trường sống của chúng bằng cách đốt hoặc phá rừng làm nông nghiệp hoặc du lịch. Hàng ngàn động vật hoang dã đã chết, và một số loài đã bị tuyệt chủng vì hủy hoại môi trường sống. Thứ hai, rất nhiều động vật hoang dã đang phải chịu đựng vì nạn săn bắn và săn trộm bất hợp pháp. Ví dụ, chúng ta có thể thấy nhiều video hoặc hình ảnh về những con tê giác bị mất sừng, những con voi hoang dã bị mất ngà hoặc báo bị giết để lấy lông.

🎗What effects does new technology have on employment?
I think the effects of technology on employment are both negative and positive. In terms of the positive, thousands of jobs have been created, and many people have benefited from it, such as web developers, web designers or IT engineers. Therefore, it has helped improve their living standards. However, lots of people, especially those who do manual work, are faced with unemployment because their work has been replaced by machines or modern technological devices.

Công nghệ mới có ảnh hưởng gì đến việc làm?
Tôi nghĩ rằng những tác động của công nghệ đối với việc làm vừa mang tính tiêu cực vừa tích cực. Về mặt tích cực, hàng ngàn việc làm đã được tạo ra và nhiều người đã được hưởng lợi từ điều này, chẳng hạn như các nhà phát triển web, thiết kế web hoặc kỹ sư CNTT. Do đó, nó đã giúp cải thiện mức sống của họ. Tuy nhiên, rất nhiều người, đặc biệt là những người làm công việc thủ công, phải đối mặt với thất nghiệp vì công việc của họ đã được thay thế bằng máy móc hoặc các thiết bị công nghệ hiện đại.

🎗What effects has modern technology had on the way food is produced?
I think technological advances have great impacts on food production. Millions of tonnes of genetically modified foods are produced every day. These foods are more resistant to diseases than foods produced in a traditional way. And thanks to breeding technologies, some plant species have been saved from extinction. But we also need to think about the negative effects of technology on food production. These days, the overuse of chemical pesticides and fertilizers is one of the main reasons for the increase in cancer and other fatal health problems.

Công nghệ hiện đại có ảnh hưởng gì đến cách thực phẩm được sản xuất?
Tôi nghĩ rằng những tiến bộ công nghệ có tác động lớn đến sản xuất thực phẩm. Hàng triệu tấn thực phẩm biến đổi gen được sản xuất mỗi ngày. Những thực phẩm này có khả năng kháng bệnh tốt hơn so với thực phẩm được sản xuất theo cách truyền thống. Và nhờ các công nghệ nhân giống, một số loài thực vật đã được cứu khỏi sự tuyệt chủng. Nhưng chúng ta cũng cần nghĩ về những tác động tiêu cực của công nghệ đối với sản xuất thực phẩm. Ngày nay, việc lạm dụng thuốc trừ sâu và phân bón hóa học là một trong những lý do chính làm tăng ung thư và các vấn đề sức khỏe gây tử vong khác.

🎗What effects can watching television have on children?
I think that watching TV can have both positive and negative effects on children. By watching educational TV programmes, such as the Discovery Channel or BBC’s Planet Earth, children can learn more about the world they live in. Watching TV can also help them develop their imagination and creativity, which are essential skills for their future careers. However, if they spend too much time watching TV, they will have less time for their studies, and this could affect their academic results. Also, sitting for too long in front of the screen is harmful to their health.

Việc xem truyền hình có những ảnh hưởng gì đối với trẻ em?
Tôi nghĩ rằng xem TV có thể có cả tác động tích cực và tiêu cực đến trẻ em. Bằng cách xem các chương trình truyền hình giáo dục, chẳng hạn như Kênh Discovery hoặc BBC Trái đất, trẻ em có thể tìm hiểu thêm về thế giới mà chúng đang sống. Xem TV cũng có thể giúp chúng phát triển trí tưởng tượng và khả năng sáng tạo, đó là những kỹ năng cần thiết cho sự nghiệp tương lai của chúng. Tuy nhiên, nếu chúng dành quá nhiều thời gian để xem TV, chúng sẽ có ít thời gian hơn cho việc học và điều này có thể ảnh hưởng đến kết quả học tập của chúng. Ngoài ra, ngồi quá lâu trước màn hình có hại cho sức khỏe của trẻ.

https://ielts-nguyenhuyen.com/ielts-speaking-part-3-model-answer-effects/
#ieltsnguyenhuyen

🚩 New Media Artist Hsin-Chien Huang Leads "Garden Taipei/Formosa: Taiwan Grand Tour" with 22 Taiwan's VR and New Media Artworks to 2021 Ars Electronica Linz in Austria🇦🇹

2021 ARS ELECTRONICA FESTIVAL Ars Electronica has chosen “A New Digital Deal” as its annual theme, centering around the social and cultural transformations under the influence of technology from different countries. Also, it pays attention to changes of “the New Normal” due to the pandemic.

Hsin-Chien Huang, this year’s curator of the “Garden Taipei/Formosa”, resonates the theme with the “Taiwan Grand Tour”, hoping to waken our desire and ability to move freely during the journey via different kinds of media, also make more people see the marvelous results and how hard Taiwan has devoted to technology, culture, tradition, and tradition via international digital platforms. The tour will have become a window between the world and Taiwan.

The scale of this year’s exhibitions has been brought up a notch. Not only did it carry on displaying the VR and AR productions from last year, but the curator Hsin-Chien Huang has collaborated with three other, Hsiao-Yue Tsao, Billy Chang, and Chung-Hsien Chen, to call out many VR directors, new media artists, start-up companies and government institutions to join the project. There are 22 magnificent programs in total, which will be shown in categories such as “Immersive Tour”, “Animated Tour”, “New Media Tour”, “Earth Tour” and “Action Tour” respectively.

“Immersive Tour”, as the first part of the “Taiwan Grand Tour”, viewers can wander among the mountains, oceans, and rivers in the digital world, even outer space! Six scenes inspired by unique Taiwanese landscapes with cultural and biological features will be shared with the audiences, such as “The Starry Sand Beach” (Directed by Hsin-Chien Huang and Nina Barbier), “Moondream Reality-Rebirth”(Directed by Chi-Yen Chiang, Ami Wu), the shuttle VR 360 stereo video of “TAIPOWER D/S ONE.” (Directed by Ghung-I Hung and Shih-Chou Wen), “Floating Childhoods” (Directed by Hakka Public Communication Foundation and Wen-Chieh Chang), “Blue Tears EP1” (Directed by Hsiao-Yue Tsao), and “Samsara” (Directed by Hsin-Chien Huang).

In the “Animated Tour”, viewers can devote themselves to the characters via different programs. Whether it is the abstract or figurative visual style, audiences can experience anxiety and frustration all the way to happiness and growth. Getting rid of this disappointing reality, viewers shall continue the “Taiwan Grand Tour” through their imagination. This program consists of four animations: "Go Go Giwas: Sowing Dream Seeds"(Directed by Vick Wang, Yi-Feng Kao), "My grandmother is an Egg"(Directed by Wu-Ching Chang),"Inside"(Directed by Yu-Ting Hsueh), and "The Wayward Kite"(Directed by Yu-Ting Hsueh).

In the “New Media Tour” program, nine brilliant pieces created by Taiwanese artists will be shared as the relay points for the “Taiwan Grand Tour.” They use video, sound, electronic music, installation, and various new media to explore different topics, such as family, memory, city, society, landscape, and environment. We firmly believe that digital tools can also capture the warmth and emotions in reality. This program consists of nine artworks: "Surrounding Spectrum"(Directed by Hsiu-Ming Wu), "Nanyang Express II : Eternal Wandering and Tropical Pursuing"(Directed by Yi-Chi Lin), "Wave Waves"(Directed by Sio-Pang Hong), "That ・ This"(Directed by Ching-Chuan Hu), "Signal"(Directed by Chin-Hsiang Hu), "Tower of Babel by the sea"(Directed by Wei-Chung Feng), "How to explain love to an iPhone"(Directed by Jie-Huai Yang), "U+617E_v2.∞"(Directed by Jia-Hua Zhan), and "Absence in Presence"(Directed by Ning Tsai).

In the program “Earth Tour”, viewers will participate in a performance art called “Taste Soil”, which intends to rethink the relationship between humans and land by means of “eating.” The program brings together international eminent chefs Andre Chiang, dancer Billy Chang, new media artist Hsin-Chien Huang and Wen-Chieh Chang, fusing Taiwan’s unique traditions and customs with cuisines and dance performances via VR experience. A feast to the eyes and tastebuds awaits.

Looking back at the present time, humans need to take more efficient scientific actions in the digital world to reduce the consumption and pressure of resources and the environment and cope with the impact in the post-pandemic times. Two important technology units in Taiwan make their debut in the “Action Tour”: Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center. The former is devoted to the sustainable development of materials science with digital technology and design, while the latter is the integration of big data and streaming technology to create a new technical model of urban governance. Combing these two, an answer to developing a sustainable society with digital energy is born. During the tour, a new performance art project is inspired by the digital cross-field cooperation for the first time. The Taipei Urban Intelligence Center will join hands with new media artist Chin-Hsiang Hu and the founder of Inwheel Ghung-I Hung, to create a new media artwork “The Weight of Data” by integrating both virtual and physical materials from different domains and sharing data resources.

The brilliant curatorial concept and lineup of the Taiwan Grand Tour have attracted the interest of the officials of the festival and been in the limelight. Therefore, the festival has invited three creators behind the “Earth Tour”: Andre Chiang, Billy Chang, and Hsin-Chien Huang, to an online interview called “Highlight Channel” at 18:00 on September 1 (Taiwan Time). The link will be provided by the official later on. Moreover, Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center are also invited to share their ideas and experiences in an online show called “Home Delivery.”

The theme of the Garden Taipei/ Formosa is presented in a diverse form of performances by combining different fields multiply. The audience can easily follow the step of the “Taiwan Grand Tour” to explore Taiwan’s magnificent local digital creativity and illustrate a new digital landscape unitedly that only belongs to Taiwan. The 2021 Ars Electronica online exhibition will be held from September 8 to 12, 2021. Click the link below to take a sneak peek of this year’s shows.

📍ARS ELECTRONICA FESTIVAL 🔗 https://ars.electronica.art/newdigitaldeal/de/formosa-grand-tour/
📍ARS ELECTRONICA FESTIVAL “Home Delivery” 🔗 https://www.youtube.com/c/arselectronica/playlists?view=50&sort=dd&shelf_id=5
📍 Garden Taipei/Formosa: Taiwan Grand Tour 🔗 http://garden2021.metarealitylab.com/

#奧地利林茲電子藝術節
​#arselectronica21 #gardentaipeiformosa

【認真聽】 爆頭就對了 ！| 從《#屍戰朝鮮：雅信傳》到《#惡靈古堡》| 晚期資本主義社會的屍檢 | 後人類未來 // 李長潔 👾
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看完《李屍朝鮮：#雅信傳》只有一個想法—「欸為什麼沒有可以按下一集的地方！」。真的很喜歡《#李屍朝鮮》，自從2019年看了第一季，那種「公路電影」般的一路跋涉，加上詭秘的政權鬥爭，還有寫實又魔幻的戰爭，重新定義了活屍文本的特徵與內涵。我們今天就談談「活屍」（#zombie）及其文本，活屍在大中文化中的意義，還有活屍也有社會學（？）
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基本上，我們認為，活屍電影、電玩、小說等，尤其在2000年後的興盛，是一種對晚期資本主義的屍檢。這些文本從政治、經濟、科學等領域，迂迴地提出「反-社會結構」的批評，並在倖存者身上，賦予某種「#後人類」式的期待。這種Ulrich Beck的「#解放性災難」，使我們思考新的社會型態與人類存在，並開啟未來的可種可能。
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📌 #今天的節目有
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▶ 李屍朝鮮與雅信傳
▶ 每個人心中都有一個活屍
▶ 活屍的系譜
▶ 活屍文本的基本解析
▶ 巫術所控制的活死人
▶ 活下來的人有這三種
▶ 作為一種後人類
▶ 爆頭就對了
▶ 對晚期資本主義社會的屍檢
▶ 末日重生—解放性的災難
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📣 #firstory 聽這裡：https://open.firstory.me/story/ckropkmml94wf0863oyg6vp2e
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📣 #kkbox 聽這裡：https://podcast.kkbox.com/episode/5YZl1BR-1MdCKbHpwX
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📣 #spotify 聽這裡：https://open.spotify.com/episode/1GzNMgApuTqh61IbAnXKXp?si=qKcV2omiRo2D9-eAwCUvIA&utm_source=copy-link&dl_branch=1
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📣 #apple 聽這裡：https://reurl.cc/R074Gg
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📣 #facebook 完整論述：https://www.facebook.com/208541192666847/posts/1818922671628683/

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///// 完整論述 /////
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▓ #李屍朝鮮與雅信傳
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想到2019第一次看到Netflix上的《李屍朝鮮》，非常驚豔，居然可以將活屍與歷史、政爭、戰爭混合在一起，創造一種全新的視野。第一季的片頭，令人頭皮發麻，逐集釋出的片段，你可以一集一集地慢慢發覺這是養屍的陰翳詭譎畫面。
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故事大概的背景是，16世紀末日本入侵朝鮮數年後的朝鮮王朝，王世子李蒼想見臥病在床十多天的父王，卻一直被宮人阻撓，直覺宮中有不可告人秘密。為追尋真相，李蒼微服暗訪醫治其父王的醫員，卻發現一場恐怖瘟疫正全國擴散，染疫的人會死而復活，變得非常嗜血及人肉，整個朝鮮正陷入一場滅亡危機。整個《李屍朝鮮》虛構地表現著真實的史實，包含16世紀的國際政治、政府治理、人民生活、飢荒與瘟疫，那些人吃人的殘酷歷史。
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雅信傳，運用了朝鮮與女真之間的緊張關係，架構了一個「生死草源起」的場面。其中全智賢以及她的部族，是夾在朝鮮與女真之間歸順政府的「城底野人」，以來往探密為生。活屍在這裡，指向某種「他者」，是一個民族傷痛的隱喻，本篇裡並沒有太多的謀策或活屍趕殺，更多的是在恨意上的不斷加深，這個被賤斥、賤踏的他者（沒有認同、失語、赤裸、遭受暴力），最終反撲成為一種灰滅性的瘋狂與災難。
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你是不是在最後活屍感染全滅軍隊時，感到內心充滿快感呢。你也可以藉雅信，明白前兩季的諸多橋段，包含生死草的來源、為何會出現、朝鮮的政爭、第二季結束時全智賢的詭異微笑。並且，藉由雅信這位女性角色的賤斥主體反撲，整個顛倒了前兩季的所有「皇權」（kingdom）統治。
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《李屍朝鮮》大概是近年K-zombie中，最典型又精彩的作品。它之所以好看，是因為其脫離了20-21世紀裡，成為重要的反烏托邦類型的活屍文本，獨樹一格。不過，我們還是回過頭來談談這整個影視發展中的活屍文本，其是對晚期資本主義世界的一種反映與批判。
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▓ #每個人心中有一個活屍
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套句導演李安的句法，每個人心中都有一個活屍。活屍電影已然成為當代最重要的電影類型之一，是一種結合怪物、恐怖、與科學幻想的文本。從1932年的《白殭屍》（White Zombie）開始，1968年George Romero執導的《活死人之夜》（Night of the Living Dead）興起，「活屍」一社會想像在40年內逐漸成為主流，時至今日已然有577部相關的活屍電影作品發行，尚未包含電玩、小說等其他傳播媒介。
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911事件後，活屍文本更蓬勃出現，成為當代流行文化中的重要類型。這些血腥恐怖的情節背後，與一般鬼片不同，其隱含著複雜的、預設式的、假設式、未來式、較積極的負面烏托邦，用通俗的方式探討著「反結構」（anti-structure）的趨勢，甚至可以說，活屍文本就是某種「社會科學的科幻」（Reed and Penfold-Mounce, 2015），是一種社會學的想像。後面就來漫談活屍文本。
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▓ #活屍的系譜—海地活屍
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林宛瑄（2017）回顧了活屍的系譜。她認為，當代習稱活屍的怪物依其所從出的歷史脈絡與形象變遷過程，可以區分為「#海地活屍」與「#美國活屍」，兩種活屍形象各有所對應的社會情境及衍生的政治文化意涵，兩者之間的關聯與差異則是揭示活屍的理論潛能所在之關鍵。
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簡言之，「海地活屍」為巫毒教的產物，例如「白殭屍」，海地人相信巫毒教巫師能夠藉由含河豚毒素的特定毒物與儀式，讓活人處於假死狀態，之後再藉另一種藥物使之復甦；但甦醒過來的受害者會失去許多心智功能，淪為受巫師操縱的奴隸。由於海地的歷史充滿被帝國殖民為奴的記憶，海地活屍逐漸演變為一種政治社會壓迫的象徵。
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▓ #活屍的系譜—美國活屍
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海地活屍在1920年代傳入美國，並在電影中，幾經轉變，最後由喬治羅米洛的活屍系列，將活屍由巫術型轉換成「感染型」。二十世紀西方大眾文化想像中的喪屍已從「#傳統神祕傳說中沒有心智且相對不具威脅性的奴性機器」轉變為「#兇惡且自我驅動的吃人機器」；活屍研究者不應將「海地喪屍」與「美國喪屍」的發展史混為一談。
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值得一提的是，喪屍擺脫巫師或奴隸主甚或殖民者支配後，始得成為所謂「常人怪物」（行屍走肉），方能夠代入各種社會脈絡與問題情境，凝聚吸納其間的想像與焦慮，羅米洛的活死人系列因此可說是活屍作為一種大眾文化史上重要的轉捩點。（林宛瑄，2017）所謂的「感染型活屍」。不論性別種族階級，任何人都可能轉變為活屍，人與喪屍之間的界線不再牢固，人無法輕易將活屍斥逐為與己對立之他者。只要有心（?），人人都可能是活屍。
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▓ #活屍電影的基本分析
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我們將557部活屍電影名稱做文字分析，可以得到一系列的詞彙，如邪惡（Evil）、重返（Return）、活死人（Undead）、黑暗（Dark）、屋舍（House）、居民（Resident）、啟示錄（Apocalypse）、戰爭（War）、變種（Mutant）。這些片名用字指向大眾對「人」（human）之常態的質疑與恐懼。活屍象徵著，道德人性的變質、資源稀缺的搶奪、社會集體歇斯底里的害怕、全球戰爭的末日想像、對傳染病的恐懼、與基因科技的深層不信任。簡單來說，即是在技術、風險、生命權力、恐怖主義等等概念力量將社會質變後，活屍電影重新定義了「人」的存在狀態。
.
▓ #倖存者的隱喻
.
在分析活屍文本時，我時常將重點放在「活屍」本身，以其作為一種對當代社會的隱喻與批判視角，但事實上，那些在災難中倖存的人類，也是很重要，他們可能是反映人類在世界存在的方式，與社會重建的未來。倖存者的分類，依賴原本的社會資源，純淨的社會結構。倖存者可以分類成「#群眾」（Multitude）、「#超人類」（transhuman）、「#後人類」（post-human）。
.
在「群眾」的情況下，大眾被與活屍連接在一起，你可以在大部分的電影中看到這樣的場景，人口過剩的新自由主義社會中，一方面不幸成為活屍的大眾在社會結構中無腦的重複動作，另一方面，倖存的群眾則試圖恢復舊秩序，或是，衝破各種機構的框架，例如種族、性別等。這樣的集體大眾合作，也表現在活屍路跑的活動場面中。
.
而「超人類」，是一種思考未來的方式，許多超人主義理論家與倡導者希望運用理性、科學和技術，並在此基礎上減少貧困、疾病、殘疾和全球各類折磨人的疾病。在《惡靈古堡》電影中，女主角Alice受感染又轉基因，變成一個超越人類界限的賽博格（cyborg），如Donna Haraway在《賽博格宣言》裡說的一樣，女性的暴力是對所有中心主義的一種超越與破壞，拋棄了所有人的從屬角色。
.
所謂「後人類」（post human）狀態，少了超人類的超越，更多的是重新思考與風險共處的例外狀態，然後形成一種生命風格。是對未來人類個體趨勢的一種觀察、推測與想像，最著名的經典是Francis Fukuyama的《後人類未來－基因工程的人性浩劫》，他強調技術革命將帶來人類社會的終極改變，其中包含了道德界線的瓦解，與社會集體暴力的來臨。Ira Livingston與Judith Halberstam則描繪「後人類」是科技的設計，是藏有符碼傳染的軀體，是致命的肉身，人類不再屬於「人族」（the family of man），而是後人類的一員。諸多學者對人類個體的未來狀態有著不確定的憂慮，但也隱含重新思考的可能性。
.
▓ #爆頭就對了
.
在電玩《惡靈古堡》中，第一次將「生化武器」、「傳染病」、「病毒」等元素加入活屍文本。「這場流行病的傳染速度，比現代歷史上的任何疾病要快得多了。」在Covid-19的時代，在《惡靈古堡3》重製版（Resident Evil 3，2020）詭譎緊張的開場序曲中的這句話，令每一個身處在現在的玩家深深感到遊戲文本與現實生活之間的巧合。從1996年誕生於日本Sony公司的遊戲開發部的《惡靈古堡》（Resident Evil），以大規模傳染與生化實驗為故事基礎，展開第一代成人玩家恐怖科幻視野，也是幾十年來活屍類型文本（zombie genre）的重要原型之一。
.
《惡靈古堡》的核心是T-virus病毒，這種將人類變異成活屍的虛構感染，讓玩家無論是通過歐式豪宅、非洲村落、亞州公寓，每一集都有。就算到了《惡靈古堡：村莊》（Resident Evil Village）的羅馬尼亞風格民間故事中，都還是可以碰見邪惡集團Umbrella Corporation，因為製造生化武器，而開啟的活屍末日。但對於《惡靈古堡》而言，一開始幾代你還會期待是有解藥的，可以回到末日前的社會。但最近的幾代，主角與活屍的距離開始混淆不清。
.
▓ #活屍就是對晚期資本主義的屍檢
.
又或者是《屍速列車》裡，列車上的病毒傳染末日最可怕的敵人除了活屍之外，還包括各種延伸出來的危機狀況，像是對糧食、飲用水、衛生的不信任，大量流竄的、囂張的、與恐慌的活人才是真正致命的對手。這些由活屍想像延伸出來的情境，全都指向全球化晚期資本主義下的災難，社會失序、病毒感染、生化戰爭、病毒疫苗突變等。
.
此外，《屍速列車》是一部很特別的電影，它的成功，正是奠基在韓國的徹底失敗上，的確，電影中所提及的「世越號沈船事件」、「MERS疫情」等真實事件，都體現了導演在韓國社會中的生活經歷，看見了韓國階層文化的不公平、國家體系的失常、經濟壓力下，人們渴望「逃跑」。所以我們看到《屍速列車》裡有不同群體之間的權力關係，例如資本家對雇員的指使、社會對高齡的排擠等；也看到軍隊體系的暴亂之力；一節節的車廂裡的失序場景，反而在極端的條件下將韓國的社會秩序表現了出來。而失速的列車也逃往向釜山，一個韓國經濟的重量級災區。
.
其他的電影如《活人生吃》、《毀滅倒數28天》也時常描繪「商場裡的消費活屍」、「倖存者的險惡競爭」、「資源的匱乏」、「極具才能的才德至上英雄」、「巨大邪惡的企業（與科學家）」、「失能又極權的軍政複合體」，也時常是活屍電影的重要場景。都很像是對晚期資本主義的一場場屍檢。
.
▓ #人與非人的共生的遊牧主義
.
活屍片通常很短，觀眾看到的只是一個傳染的展開片段，但如果像是《陰屍路》這種發展很長的篇幅，就可以看人們開始嘗試展開新的生活。有趣的是，活屍科幻電影看似悲觀，這些倖存者卻總為未來社會帶來希望，追尋一個新的社會結構。例如《屍速列車》，電影中主角孔劉與其他人物的關係描繪得十分飽滿。一個故事由主角構成，主角本身卻又由許許多多的其他人構成，互動來去，在情緒、情感、合作策略的各種人際關係行為中，維繫了「人」存在於這個世界末日的價值。又或者是超級長篇《陰屍路》、被罵翻的《最後生存者2》，到後來已經展開各種活屍末日的生活共同體實驗，活屍末日是新世界的開始，在這個世界中「沒有強而有力的中央政府或傳統的社會建制，只有一群剛強的倖存者」（林宛瑄，2017）。
.
剝去感官主義的票房刺激，我們可以思考，在當代流行文化中被大量產出的殭屍文本，也許並不是我們恐懼上述的「後人類怪物」，而是我們每個人心中都有一個具殭屍，他提醒著當代人類身上存在著「跨界性」，我們必須要在無法可管的條件（社會變動太過劇烈）下創造新的律法。這是「後人類」的啟蒙，在最狂暴卻又極度管制的的區域中重新創造「人」的存在。
.
▓ #解放式災難的契機
.
我們可以用哲學家Giorgio Agamben的「例外狀態」（state of exception）來解釋這活屍延伸出來的後人類思考。在活屍科幻電影鋪成的過程中逐漸展開視域，可以發現空間與政治、生命與法律、混亂與正常之間已經失去清楚界線，這種「例外狀態」標示著當代社會型態的狂暴與管制、安全與風險的共存。而就是因為《李屍朝鮮》、《陰屍路》、《屍速列車》、《惡靈古堡》以及其他的活屍類型文本中，存在著活屍的暴力性、動物性、去道德化，反而強化了主角與其他角色之間社會關係，那些是人性的脆弱、難得的尊重與無私的互動，這些是維護「人」所存在的最後理由。「最後生存者」，這種新的存在方式，不純然是對非人狀態的拋棄恐懼，更可以是一種共振、共活（想想看這兩年的全球疫情）。
.
所以，活屍文本可以反映Ulrich Beck（周桂田、徐健銘，2016）提出的「解放式災難」，災難的風險可能帶來變革與解放的契機。「活屍」給我們一種壓力，一種啟事，一種警告，告訴我們自己即將面臨（或正處於）例外世界，承認當代人類個體已然是各種跨界性的混合體，但我們依然盡力地維護著人性的價值與個體安全的保證，在可能是最壞的未來情境裡，持續重新定義人類存在的意義。

|

📕 #參考文獻
.
1. 周桂田、徐健銘（2016）。進擊的世界風險社會挑戰。二十一世紀雙月刊。

2. 林宛瑄（2017）。我們就是喪屍:《 陰屍路》 中的喪屍末日與再創生。英美文學評論。

3. Fukuyama, F. (2006). The end of history and the last man. Simon and Schuster.

4. Halberstam, J. (1995). Ira Livingston, eds. 1995. Posthuman Bodies.

5. Reed, D., & Penfold-Mounce, R. (2015). Zombies and the sociological imagination: The walking dead as social-science fiction. In The zombie renaissance in popular culture (pp. 124-138). Palgrave Macmillan, London.

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