| Science and technology are not something intervene between the outside world and us. Contrarily, they are our organs, the partners of our body. As Merleau-Ponty said, "the folds of body".When men observed the natural body for the first time and tried to mix the organic and the inorganic, it happened in the time when industrial revolution was ongoing in its full swing. A French built a humanoid robot which could play flute music. Thus begins the obsession history of men’s creating mechanized lives. The essence of the universe and the paragon of all animals, as Shakespeare described men, have never be bored with imaging and experimenting the idea of "hybrid" of body and machine, by using his incredible intelligence, various kinds of tools, and all sorts of art forms. Cyborg, the symbiosis of human and machine, is the ultimate form of life according to some people’s fantasy.The intervention of science and technology has created the chance to break the integrity of human body. In those sci-tech oriented posthumanists’opinion, the impact force of science and technology to the body is just like in the film Crash directed by David Cronenberg, has created the new organ and the new sexuality. But there are still some of the posthumanists who are not so optimistic. Take Donna Harraway for example, she thought that cyborg should not be considered to be the naive, innocent and the Eden, but the guilty ones which as a history. It is even militaristic and patricentric.In 1960, two scholars working in School of Aviation Medicine in US, initiated the word of Cyborg. In the same year, Philip K. Dick wrote his famous sci-fi noval Do Androids dream of Electric Sheep? in which he told a cyborg story of "the wanted and the desire". Twenty two later, Ridley Scott gave those cyborgs the film image in his sci-fi film Blade Runner. This film afterwords becomes the phenomenon of posthumanism, on the account of its remarkable image style, visual art and the philosophy discuss related to life, being, time and freedom. Therefore the film is turned to the motif and prototype of subsequent sci-fi films later.Different from the mentally analyse of posthumanists, the media form of film decides its interpretation of posthumanism is somehow cinematic. This dissertation discuss the issue of Visible Cyborg by researching the cinematic visual art, trying to integrate the form design and the content of the film. The whole discussion is divided into 6 chapters, which including "The visible cyborg", "From signifying machine to expressive machines", "The Janus face of prosthesis", "The rhetoric of cyborg", "Prosthesis, monster and modernity". This dissertation probe into the issues of cinematic styling of cyborg, the history of cinematic styling of mechanic body, the philosophical problems of prosthesis, the narrative research of cyborg, and the features of "the ucanny". Within the context of Blade Runner, the construction of image and the cinematic rhetoric altogether constitute the statement of the film author. The dissertation find that, the make-up and the costume, the color use, the light use, the tone and the scenery show the visual existence of prosthesis. When we look deep down through the signifier of the film context, we see the Cyborg rhetoric, by which the deviance and the marked difference can be disclosed, confirmed and restored. |
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