新世纪以来，随着《黑客帝国》系列电影在全球范围内的火爆，好莱坞赛博 朋克电影美学风靡全球。赛博朋克作为一种成熟的美学风格对后面众多的科幻电 影都产生了深远的影响。

本文从身体叙事的视角出发，首先系统性的分析了赛博朋克电影中呈现的三 种主要身体景观——“赛博格”、“复制人”和“数字身体”。赛博格身体揭示 了人类对技术强化自身的追求，以及由此引发的伦理争议。复制人/克隆人身体 则凸显了人类对身体复制和生育控制的恐惧，这种“他者化”身体不仅反映了人 类对自我特权的加冕，更揭示了自身对“非我族裔”的排斥心理。数字身体的出 现则体现了身体的离身性，强调了身体从传统的物质实体向非物质化、数据化实 体的转移。人类的意识、身份和行为能在赛博空间内独立于肉身存在，在虚拟世 界中无所不能，数字身体同时也引发了现实中肉身是否仍有存在价值的困扰。

在论文的主干部分，本文着重分析了在好莱坞赛博朋克电影中，身体作为叙 事的载体、叙事的动力、叙事的隐喻，是如何影响整体叙事的进展的。与传统的身体叙事不同，赛博朋克电影中的身体更多具有了后人类的特征，身体既是米歇 尔·福柯所述的权力规训的受体，也是吉尔·德勒兹视角下的欲望生产机制的一 部分。在赛博朋克电影的身体叙事中，身体已经不光是肉身层面上的身体，后现代人类学背景下人与机器的结合及由此带来的冲突与竞争也成为本文讨论的主要对象。

Since the new century, with the global craze of The Matrix series, the cyberpunk aesthetic style in Hollywood has become popular worldwide. As a mature aesthetic style, cyberpunk has had a profound influence on many subsequent science fiction films.

From the perspective of body narratives, this paper first systematically analyzes three main body landscapes presented in cyberpunk films - "cyborgs", "replicants", and "digital bodies". The cyborg body reveals the human pursuit of enhancing oneself with technology, as well as the ensuing ethical controversies. The replicant/clone body highlights the human fear of body replication and birth control. This "othered" body not only reflects the human control over self-privilege but also reveals the rejection of "non-kindred". The emergence of the digital body demonstrates the disembodiment of the body, emphasizing the shift from the traditional material entity to the non-material, data-based entity. Human consciousness, identity, and behavior can exist independently of the physical body in cyberspace, being omnipotent in the virtual world. The digital body also raises concerns about whether the physical body still has value in reality.

In the main part of the paper, we focus on analyzing how the body, as a vehicle for narrative, a driving force for narrative, and a metaphor for narrative, influences the overall progression of the narrative in Hollywood cyberpunk films. Unlike traditional body narratives, the bodies in cyberpunk films have more posthuman characteristics. The body is not only the recipient of power and discipline as described by Michel Foucault but also part of the desiring-production mechanism from Gilles Deleuze's perspective. In the body narratives of cyberpunk films, the body is no longer just a physical body; the combination of humans and machines in the postmodern anthropological context, as well as the ensuing conflicts and competitions, have also become the main subjects of discussion.