當後現代主義席捲了文化各種層面，於其中製產出來的文本模式也出現了轉折。華語恐怖片從1980年由《鬼打鬼》(Encounter of the Spooky Kind)造成殭屍系列炫風之後，逐漸產生了符號性轉折，由原先依循中國傳統的誌怪元素，到巧妙地創造出文化新真實，在在挑戰著觀眾的文化經驗。到了兩千年之後，《幽靈人間》系列(Visible Secret)、《見鬼》(The Eye)等片的表述方式已經不再是傳統中嚇人的形象(如殭屍)，其中更多的是新時代的焦慮，但這種焦慮也以「擬像」的態勢不經意的曝露在我們眼前，而成為與真實有所隔離的「新真實」──我們可以從這樣的擬像性格中抽離出一些後現代文化的軌跡，以及觀看自身悄悄接受符號變體的過程。 本研究採取布希亞的擬像四階變化觀點，選取華語恐怖片共22部，企圖勾勒出電影符號如何形成對「恐怖」與「鬼物」認知的後現代變體作用，與它們如何反過來呈現出後現代荒蕪的社會景像。但相對地，本研究棄絕形而上、以及極端布希亞立場的聲稱，因此在採取他的立場時亦有所保留。 All cultural spheres are infiltrated by postmodernism, in which the metamorphosis of textual genre has proliferated. Since Chinese-speaking horror film has provoked a fashionable current starting with “Encounter of the Spooky Kind” 1980, a semiotic turn emerged from original folklore esoteric elements of the China tradition to exquisitely invented new cultural reality. This turn challenges the cultural experience of the audiences. Beginning year 2000, horror film such as “Visible Secret “series and “The Eye”has turned into not as fear-provoking as traditional style like “Mr. Vampire”anymore, but more constituents of anxiety regarding the new age. The anxiety was insensitively exposed before us in terms of “simulation”, which becomes “new reality” rather than reality. From the simulation style we can extricate some postmodern cultural tracks, and thus to gaze the process of semiotic metamorphosis of viewers themselves. This research takes on the analytical strategy of the four steps of simulation of the Baudrillard’s, to analyze 22 pieces of Chinese-speaking horror film, in order to sketch out how the films’ signification formulates an effect of postmodern mutation concerning the cognition of “horror” and “ghost matter”, and how they conversely reveals the barren social scene of postmodernism. However, in contrast, this research abandons metaphysics, and the extremist claim of Baudrillard’s. Hence, while adopting his analytical strategy some reservation is sustained.
