本論文旨在探討押井守兩部動畫《攻殼機動隊》(1995)和續作《無罪》(2004)裡的機器人再現。透過檢視女主角草薙素子的機器人身體來證明其女性身體不再是傳統被物化的性對象或被動的角色，片中所呈現的素子反而是沉思人類命運與主體性的思想先驅者以及哲學家。在《攻》一片的最後，素子透過去肉體化而達到某種程度的自由，並得以從社會束縛中掙脫而出。接著我將重心放在《無罪》的人偶身體上，以後人類的角度去詮釋人偶在片中的重要性，推論出人偶的身體即為後人類的身體。此外，我在論文最後的章節論述了兩部動畫之間的重要轉折為身體政治的轉變：從《攻》所追求的去肉體化過渡到《無》中的(後人類)身體重獲。

This project aims to explore the cyborgs’ bodily representation in Mamoru Oshii’s animated works Ghost in the Shell (1995) and Innocence (2004). With a detailed investigation of the female lead Motoko Kusanagi’s cyborg body, I contend that Motoko Kusanagi is represented more as a vanguard of human species, a contemplator, a philosopher than a traditional sex object, or a passive female figure. Through a complete disembodiment at the end of Ghost in the Shell, Kusanagi achieves a state of freedom to some extent and is rid of the social bonds that used to haunt her so much. Then I call attention to the dolls’ body in Innocence and examine it through the lens of posthumanism and see how the body can be read as a posthuman body. In the last part I point out and elaborate on the significant shift of body politics in these two films: from the destruction of the body in Ghost in the Shell to a regain of the posthuman body in Innocence.

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