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題名 「據說，巨獸也曾在此地悠遊漫步」：《西部極樂世界》第一季中的時間設定與其後殖民探討
"They say that great beasts once roamed this world": temporality and its post-colonial significance in Westworld season one作者 吳楚茵
Wu, Chu-Yin貢獻者 柯瑞強
Corrigan, John Michael
吳楚茵
Wu, Chu-Yin關鍵詞 西部極樂世界
時代謬誤
約翰·瑞德爾
後殖民主義
早期科幻小說
雙重認同
Westworld
Anachronism
John Rieder
Post-colonialism
Early science fiction
Double identification日期 2019 上傳時間 2-May-2019 14:41:03 (UTC+8) 摘要 根據HBO官方網站，《西部極樂世界》（Westworld, 2016-）是一部講述人工智慧淪為滿足人類慾望工具的美國暗黑奧德賽式的科幻影集。影集創作人認為好萊塢往往為了滿足主流影視視角，而把他者異化為具威脅性、醜怪或不具人性的角色。《西部極樂世界》則反其道而行地以被異化他者 (alienated others) 作為敘事出發點，讓觀眾不僅同情也認同這些角色。儘管《西部極樂世界》批判資本主義及其推想另類理想社會的科幻手法具有後殖民科幻小說色彩，卻也難以逃脫殖民意識形態的窠臼。此論文在約翰•瑞德爾 (John Rieder) 討論早期科幻小說及殖民主義的理論架構下探討《西部極樂世界》中該主題樂園的時間背景設定、此設定的殖民意識形態，以及該影集對此設定的批判與掙扎。舉例來說，槍枝與解密地圖是成就早期（後）殖民主義科幻小說的時間背景設定的重要道具，而在樂園中，不平等分配的科技與武力操作能力迫使人造人接待員 (hosts) “飾演”處於科技弱勢的美國舊西部時代拓荒者，這使樂園的客人們於認知上否認人造人真正活於當下的時間性，並異化為文化他者；而早期（後）殖民主義科幻小說解密地圖的定位與樂園提供給客人的冒險敘事的差異，則給予觀者一個機會來檢視此影集中文化主體將他者的生命財產據為己有的後殖民敘事。英國小說家赫伯特•喬治•威爾斯 (H. G. Wells) 於《世界大戰》 (The War of the Worlds, 1897) 使用雙重認同 (double identification) 的敘事手法來批判英國殖民主義。以此為前提，此論文亦探討《西部極樂世界》操作雙重認同的敘事手法，及手法其是否達到批判殖民主從關係的作用。透過敘事角度、剪接技巧與影集自我解構的思辨，當影集觀者在文化強者中看見自我投影，其認同感與認知卻被置於被異化的接待者上，從而同時認同於文化強者與弱者。但如同《世界大戰》有其批判限制，採用此手法的《西部極樂世界》亦有可能落入殖民意識形態之窠臼。
As the official website for HBO television series introduces, Westworld (2016-) is a dark American odyssey in which the dawn of artificial consciousness is meant to indulge every imaginable human appetite. Westworld’s creators observe that Hollywood movies and TV depiction tend to characterize the alienated other as a threatening, estranged, and inhumane role. In contrast to this human-centric characterization, the series creators unravel the narrative from the artificial others’ perspective, securing the audience’s sympathy in these colonized. However, as Westworld criticizes capitalism in line with the post-colonialist sf tradition and speculates about the visage of an alternative society, it also problematizes the possibility of transcending the colonial logic of anachronism and progress. With John Rieder’s theoretical context, my thesis examines Westworld the park’s fantasy of time, the fantasy’s colonial significance, and the series’ criticism on and struggle of the park’s fantasy of time. As a part of this (post-)colonial fantasy of time, the props of the theme park are also brought into discussion, such as the uneven distribution of arms/technology and the map/narrative provided for guests. While the former renders the hosts’ archaism by denying their real contemporaneity and alienating them into cultural others, the latter helps us look into the post-colonial version of appropriation. Furthermore, as H. G. Wells applies the technique of double identification in his sf, The War of the Worlds (1897), to criticize British colonialism, I examine Westworld’s approach in using double identification and this technique’s critical effect on colonial relations. While the audience of Westworld sees their cultural self be represented a colonial episteme in a science fictional work, the perspective of the viewers is also aligned with the host’s cognitive position through narrative perspective, techniques of editing, and series’ deconstructive self-criticism. This characterization of identifying both the colonist humans and the colonized hosts allows me to question if the colonial structure remains intact in Westworld’s first season as does in Wells’ novel.參考文獻 Chaltain, Sam. “Trump, Westworld & Us.” Medium, 5 Nov. 2016, www.medium.com/@samchaltain/trump-westworld-us-7302610b8824. Accessed 28 July 2017.Delany, S. R. R. “Science Fiction and “Literature”—or, The Conscience of the King.” Starboard Wine: More Notes on the Language of Science Fiction. Middletown: Wesleyan University Press, 2012. Project MUSE.Evans, Arthur B. “Nineteen-century sf.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 13–22.Fabian, Johannes. Time and the Other: How Anthropology Makes Its Object. Columbia University Press, 2014.Gibberd, James. “’Westworld’ Producers Answer Our Burning Post-Premiere Questions.” EW.com (Entertainment Weekly), 2 Oct. 2016, www.ew.com/article/2016/10/02/westworld-premiere-interview/.HBO. “Dr. Ford’s New Narrative: Westworld (HBO).” YouTube, YouTube, 5 Dec. 2016, www.youtube.com/watch?v=3lCPbCM0tVk&t=2s.Higbie, Tobias. “Why Do Robots Rebel? The Labor History of a Cultural Icon.” Labor vol. 10 no. 1, 2013, 99-121.John, C., Langford, D. & Nicholls, P. “Androids.”Encyclopedia of Science Fiction, 3rd edition. 2016, www.sf-encyclopedia.com/entry/androids. Accessed 9 Jan. 2017.---. “Scientific Romance.” SFE: The Science Fiction Encyclopedia, 19 Apr. 2016, www.sf-encyclopedia.com/entry/scientific_romance.---. “Verne, Jules.” SFE: The Science Fiction Encyclopedia, 19 Mar. 2018, www.sf-encyclopedia.com/entry/verne_jules.Johnson, Bob. “Energy Slaves: Carbon Technologies, Climate Change, and the Stratified History of the Fossil Economy.” American Quarterly, vol. 68 no. 4, 2016, pp. 955-979. Project MUSE, doi:10.1353/aq.2016.0074Kakoudaki, Despina. Anatomy of a Robot: Literature, Cinema, and the Cultural Work of Artificial People. Rutgers University Press, 2014, New Brunswick.Kale, Sirin. “A Robot Expert Explains What Society Can Learn from ‘Westworld’.” Broadly, 25 Oct. 2016, broadly.vice.com/en_us/article/westworld-robot-expert-explains-what-society-can-learn. Accessed 19 July 2017.McNamara, Mary. “HBO’s Multilayered Update of ‘Westworld’ Is TV’s Next Big Game-Changer.” Los Angeles Times, Los Angeles Times, 1 Oct. 2016, www.latimes.com/entertainment/tv/la-et-st-westworld-review-20160926-snap-story.html.Moura, Gabe. “Parallel Editing.” Elements of Cinema, 1 July 2014, www.elementsofcinema.com/editing/parallel-editing/.Murillo, Lina-Maria, and Michael K. Bess. “Westworld and the Frontier Imaginary.” Borderlands History, 12 Jan. 2017, borderlandshistory.org/2016/12/08/westworld-and-the-frontier-imaginary/. Accessed 19 July 2017.Nolan, Jonathan, and Lisa Joy. Westworld. HBO Entertainment, 2016, vmus.co/westworld/.Patry, Jean. “Invisible Cuts: a New Trend in Video Editing.” Medium, 18 Aug. 2017, medium.com/applaudience/invisible-cuts-a-new-trend-in-video-editing-Pratt, Mary Louise. “Arts of the Contact Zone.” Profession, 1991, pp. 33-40. Modern Language Association, http://wwwdstor.org/stablei25595469b858ede7403d.Rieder, John. “Fiction, 1895-1926.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 23–31.Rieder, John. “Introduction: The Colonial Gaze and the Frame of Science Fiction.” Colonialism and the Emergence of Science Fiction. Moddletown, CT, Wesleyan University Press, 2008.Roberts, Adam. “The Copernican Revolution.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 3–12.Sakai, Naoki. “The West—A Dialogic Prescription or Proscription?” Social Identities, vol. 11, Iss. 3, 2005.Shiffman, Allyson. “A Comprehensive ‘Westworld’ User`s Manual For the Season Finale.” W Magazine, 25 May 2017, www.wmagazine.com/story/a-comprehensive-westworld-users-manual-for-the-season-finale.Spade, Dean. “Demanding the Unthinkable.” feminists@law, vol. 1 no. 1, 2011.Suvin, Darko. “Estrangement and Cognition.” Gunn, James E., and Matthew Candelaria. Speculations on Speculation: Theories of Science Fiction, Scarecrow Press, 2005, pp. 25–29.Toton, Sarah. “From Mechanical Men to Cybernetic Skin Jobs: A History of Robots in American Popular Culture.” Emory University, 2014. Accessed 5 Sep. 2017.“Westworld (2016) Episode Scripts | SS.” Springfield! Springfield!, www.springfieldspringfield.co.uk/episode_scripts.php?tv-show=westworld-2016.“Westworld Awards.” IMDb, IMDb.com, www.imdb.com/title/tt0475784/awards?ref_=tt_ql_op_1.“Westworld - Season 1.” Westworld - Season 1 - Internet Movie Firearms Database - Guns in Movies, TV and Video Games, www.imfdb.org/wiki/Westworld_-_Season_1.Zizek, Slavoj. “`Law Is Law`.” The Sublime Object of Ideology. Verso, 1989. 描述 碩士
國立政治大學
英國語文學系
1045510062資料來源 http://thesis.lib.nccu.edu.tw/record/#G1045510062 資料類型 thesis dc.contributor.advisor 柯瑞強 zh_TW dc.contributor.advisor Corrigan, John Michael en_US dc.contributor.author (Authors) 吳楚茵 zh_TW dc.contributor.author (Authors) Wu, Chu-Yin en_US dc.creator (作者) 吳楚茵 zh_TW dc.creator (作者) Wu, Chu-Yin en_US dc.date (日期) 2019 en_US dc.date.accessioned 2-May-2019 14:41:03 (UTC+8) - dc.date.available 2-May-2019 14:41:03 (UTC+8) - dc.date.issued (上傳時間) 2-May-2019 14:41:03 (UTC+8) - dc.identifier (Other Identifiers) G1045510062 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/123220 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 英國語文學系 zh_TW dc.description (描述) 1045510062 zh_TW dc.description.abstract (摘要) 根據HBO官方網站，《西部極樂世界》（Westworld, 2016-）是一部講述人工智慧淪為滿足人類慾望工具的美國暗黑奧德賽式的科幻影集。影集創作人認為好萊塢往往為了滿足主流影視視角，而把他者異化為具威脅性、醜怪或不具人性的角色。《西部極樂世界》則反其道而行地以被異化他者 (alienated others) 作為敘事出發點，讓觀眾不僅同情也認同這些角色。儘管《西部極樂世界》批判資本主義及其推想另類理想社會的科幻手法具有後殖民科幻小說色彩，卻也難以逃脫殖民意識形態的窠臼。此論文在約翰•瑞德爾 (John Rieder) 討論早期科幻小說及殖民主義的理論架構下探討《西部極樂世界》中該主題樂園的時間背景設定、此設定的殖民意識形態，以及該影集對此設定的批判與掙扎。舉例來說，槍枝與解密地圖是成就早期（後）殖民主義科幻小說的時間背景設定的重要道具，而在樂園中，不平等分配的科技與武力操作能力迫使人造人接待員 (hosts) “飾演”處於科技弱勢的美國舊西部時代拓荒者，這使樂園的客人們於認知上否認人造人真正活於當下的時間性，並異化為文化他者；而早期（後）殖民主義科幻小說解密地圖的定位與樂園提供給客人的冒險敘事的差異，則給予觀者一個機會來檢視此影集中文化主體將他者的生命財產據為己有的後殖民敘事。英國小說家赫伯特•喬治•威爾斯 (H. G. Wells) 於《世界大戰》 (The War of the Worlds, 1897) 使用雙重認同 (double identification) 的敘事手法來批判英國殖民主義。以此為前提，此論文亦探討《西部極樂世界》操作雙重認同的敘事手法，及手法其是否達到批判殖民主從關係的作用。透過敘事角度、剪接技巧與影集自我解構的思辨，當影集觀者在文化強者中看見自我投影，其認同感與認知卻被置於被異化的接待者上，從而同時認同於文化強者與弱者。但如同《世界大戰》有其批判限制，採用此手法的《西部極樂世界》亦有可能落入殖民意識形態之窠臼。 zh_TW dc.description.abstract (摘要) As the official website for HBO television series introduces, Westworld (2016-) is a dark American odyssey in which the dawn of artificial consciousness is meant to indulge every imaginable human appetite. Westworld’s creators observe that Hollywood movies and TV depiction tend to characterize the alienated other as a threatening, estranged, and inhumane role. In contrast to this human-centric characterization, the series creators unravel the narrative from the artificial others’ perspective, securing the audience’s sympathy in these colonized. However, as Westworld criticizes capitalism in line with the post-colonialist sf tradition and speculates about the visage of an alternative society, it also problematizes the possibility of transcending the colonial logic of anachronism and progress. With John Rieder’s theoretical context, my thesis examines Westworld the park’s fantasy of time, the fantasy’s colonial significance, and the series’ criticism on and struggle of the park’s fantasy of time. As a part of this (post-)colonial fantasy of time, the props of the theme park are also brought into discussion, such as the uneven distribution of arms/technology and the map/narrative provided for guests. While the former renders the hosts’ archaism by denying their real contemporaneity and alienating them into cultural others, the latter helps us look into the post-colonial version of appropriation. Furthermore, as H. G. Wells applies the technique of double identification in his sf, The War of the Worlds (1897), to criticize British colonialism, I examine Westworld’s approach in using double identification and this technique’s critical effect on colonial relations. While the audience of Westworld sees their cultural self be represented a colonial episteme in a science fictional work, the perspective of the viewers is also aligned with the host’s cognitive position through narrative perspective, techniques of editing, and series’ deconstructive self-criticism. This characterization of identifying both the colonist humans and the colonized hosts allows me to question if the colonial structure remains intact in Westworld’s first season as does in Wells’ novel. en_US dc.description.tableofcontents Acknowledgement ivChinese Abstract viEnglish Abstract viiiChapter1.INTRODUCTION 1Theoretical Formulation 1Reviews on Westworld 2Methodology 52.BEFORE SF BECOMES SF 8From Copernicus to Wells 8Early Science Fiction and Colonial Discourses 143.ANACHRONISM IN WESTWORLD 20Anachronistic Settings 20Technology and Maps: Distribution and Ownership ofLife and Death 244.DOUBLE IDENTIFICATION AND THE (POST-)COLONIAL STRUCTUREIN WESTWORLD 33The Ideological Pitfall of Progress and DoubleIdentification 33Double Identification 34The Threat of Becoming the Archaic Other 415.THE LOOP 46The Social Order in Social Bonds 46El Lazo 47Parallel Editing 50Flashback: The Insertion, the Match Cut, and theInvisible Cut 53The Colonial Structure Remains Intact 61CONCLUSION 63Works Cited 69 zh_TW dc.format.extent 1921981 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1045510062 en_US dc.subject (關鍵詞) 西部極樂世界 zh_TW dc.subject (關鍵詞) 時代謬誤 zh_TW dc.subject (關鍵詞) 約翰·瑞德爾 zh_TW dc.subject (關鍵詞) 後殖民主義 zh_TW dc.subject (關鍵詞) 早期科幻小說 zh_TW dc.subject (關鍵詞) 雙重認同 zh_TW dc.subject (關鍵詞) Westworld en_US dc.subject (關鍵詞) Anachronism en_US dc.subject (關鍵詞) John Rieder en_US dc.subject (關鍵詞) Post-colonialism en_US dc.subject (關鍵詞) Early science fiction en_US dc.subject (關鍵詞) Double identification en_US dc.title (題名) 「據說，巨獸也曾在此地悠遊漫步」：《西部極樂世界》第一季中的時間設定與其後殖民探討 zh_TW dc.title (題名) "They say that great beasts once roamed this world": temporality and its post-colonial significance in Westworld season one en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Chaltain, Sam. “Trump, Westworld & Us.” Medium, 5 Nov. 2016, www.medium.com/@samchaltain/trump-westworld-us-7302610b8824. Accessed 28 July 2017.Delany, S. R. R. “Science Fiction and “Literature”—or, The Conscience of the King.” Starboard Wine: More Notes on the Language of Science Fiction. Middletown: Wesleyan University Press, 2012. Project MUSE.Evans, Arthur B. “Nineteen-century sf.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 13–22.Fabian, Johannes. Time and the Other: How Anthropology Makes Its Object. Columbia University Press, 2014.Gibberd, James. “’Westworld’ Producers Answer Our Burning Post-Premiere Questions.” EW.com (Entertainment Weekly), 2 Oct. 2016, www.ew.com/article/2016/10/02/westworld-premiere-interview/.HBO. “Dr. Ford’s New Narrative: Westworld (HBO).” YouTube, YouTube, 5 Dec. 2016, www.youtube.com/watch?v=3lCPbCM0tVk&t=2s.Higbie, Tobias. “Why Do Robots Rebel? The Labor History of a Cultural Icon.” Labor vol. 10 no. 1, 2013, 99-121.John, C., Langford, D. & Nicholls, P. “Androids.”Encyclopedia of Science Fiction, 3rd edition. 2016, www.sf-encyclopedia.com/entry/androids. Accessed 9 Jan. 2017.---. “Scientific Romance.” SFE: The Science Fiction Encyclopedia, 19 Apr. 2016, www.sf-encyclopedia.com/entry/scientific_romance.---. “Verne, Jules.” SFE: The Science Fiction Encyclopedia, 19 Mar. 2018, www.sf-encyclopedia.com/entry/verne_jules.Johnson, Bob. “Energy Slaves: Carbon Technologies, Climate Change, and the Stratified History of the Fossil Economy.” American Quarterly, vol. 68 no. 4, 2016, pp. 955-979. Project MUSE, doi:10.1353/aq.2016.0074Kakoudaki, Despina. Anatomy of a Robot: Literature, Cinema, and the Cultural Work of Artificial People. Rutgers University Press, 2014, New Brunswick.Kale, Sirin. “A Robot Expert Explains What Society Can Learn from ‘Westworld’.” Broadly, 25 Oct. 2016, broadly.vice.com/en_us/article/westworld-robot-expert-explains-what-society-can-learn. Accessed 19 July 2017.McNamara, Mary. “HBO’s Multilayered Update of ‘Westworld’ Is TV’s Next Big Game-Changer.” Los Angeles Times, Los Angeles Times, 1 Oct. 2016, www.latimes.com/entertainment/tv/la-et-st-westworld-review-20160926-snap-story.html.Moura, Gabe. “Parallel Editing.” Elements of Cinema, 1 July 2014, www.elementsofcinema.com/editing/parallel-editing/.Murillo, Lina-Maria, and Michael K. Bess. “Westworld and the Frontier Imaginary.” Borderlands History, 12 Jan. 2017, borderlandshistory.org/2016/12/08/westworld-and-the-frontier-imaginary/. Accessed 19 July 2017.Nolan, Jonathan, and Lisa Joy. Westworld. HBO Entertainment, 2016, vmus.co/westworld/.Patry, Jean. “Invisible Cuts: a New Trend in Video Editing.” Medium, 18 Aug. 2017, medium.com/applaudience/invisible-cuts-a-new-trend-in-video-editing-Pratt, Mary Louise. “Arts of the Contact Zone.” Profession, 1991, pp. 33-40. Modern Language Association, http://wwwdstor.org/stablei25595469b858ede7403d.Rieder, John. “Fiction, 1895-1926.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 23–31.Rieder, John. “Introduction: The Colonial Gaze and the Frame of Science Fiction.” Colonialism and the Emergence of Science Fiction. Moddletown, CT, Wesleyan University Press, 2008.Roberts, Adam. “The Copernican Revolution.” The Routledge Companion to Science Fiction, edited by Mark Bould et al., 1st ed., Routledge, 2011, pp. 3–12.Sakai, Naoki. “The West—A Dialogic Prescription or Proscription?” Social Identities, vol. 11, Iss. 3, 2005.Shiffman, Allyson. “A Comprehensive ‘Westworld’ User`s Manual For the Season Finale.” W Magazine, 25 May 2017, www.wmagazine.com/story/a-comprehensive-westworld-users-manual-for-the-season-finale.Spade, Dean. “Demanding the Unthinkable.” feminists@law, vol. 1 no. 1, 2011.Suvin, Darko. “Estrangement and Cognition.” Gunn, James E., and Matthew Candelaria. Speculations on Speculation: Theories of Science Fiction, Scarecrow Press, 2005, pp. 25–29.Toton, Sarah. “From Mechanical Men to Cybernetic Skin Jobs: A History of Robots in American Popular Culture.” Emory University, 2014. Accessed 5 Sep. 2017.“Westworld (2016) Episode Scripts | SS.” Springfield! Springfield!, www.springfieldspringfield.co.uk/episode_scripts.php?tv-show=westworld-2016.“Westworld Awards.” IMDb, IMDb.com, www.imdb.com/title/tt0475784/awards?ref_=tt_ql_op_1.“Westworld - Season 1.” Westworld - Season 1 - Internet Movie Firearms Database - Guns in Movies, TV and Video Games, www.imfdb.org/wiki/Westworld_-_Season_1.Zizek, Slavoj. “`Law Is Law`.” The Sublime Object of Ideology. Verso, 1989. zh_TW dc.identifier.doi (DOI) 10.6814/THE.NCCU.ENG.005.2019.A09 en_US
