ABSTRACT Monsters (Gareth Edwards, 2010) illustrates the collusion in contemporary visual culture between the digital and the cosmopolitan. Starting from a pivotal moment in the film in which the wonders of the borderlands are presented through an uncanny mixture of documentary-like reality and digital effects, this article explores such collusion through a combination of digital and cosmopolitan theory and close readings of particular scenes in the movie. The analysis offered here is framed by an acknowledgment of the centrality of space in the cinema. I use Lev Manovich’s concept of ‘compositing’ and its further theorization by Steven Shaviro and, especially, William Brown to discuss the specificities of digital space and its potential for a cosmopolitan understanding of the borderland. In order to describe the particular nature of the borderland constructed by Monsters, I draw on border theory (Anzaldúa, Pratt, Gómez Peña) and engage with the focus on borders and borderlands in cosmopolitan theory (Beck, Cooper and Rumford). The article concludes that Monsters, for all its cosmopolitan ambivalences, offers a complex understanding of the borderland and its potential to explicate global societies by highlighting cinematic space and turning the human figures into functions of space, thus evoking Brown’s notion of ‘enworldment’.

中文翻译：

---

仙境：怪物边境中的数字世界

摘要《怪兽》（Gareth Edwards，2010年）说明了数字化和国际化之间当代视觉文化的共谋。从电影的一个关键时刻开始，在该时刻中，通过纪录片般的现实和数字效果的不可思议的混合来呈现无国界的奇迹，本文通过数字和世界主义理论的结合以及对特定场景的近距离阅读来探索这种勾结电影。此处提供的分析以对电影院中空间的中心性的认可为框架。我将使用列夫·马诺维奇（Lev Manovich）的“合成”概念及其由史蒂文·沙维尔（Steven Shaviro）尤其是威廉·布朗（William Brown）进行的进一步理论化，来讨论数字空间的特殊性及其对国际社会对边疆的理解的潜力。为了描述怪物构造的边界国的特殊性质，我借鉴了边界理论（Anzaldúa，Pratt，GómezPeña），并着眼于国际化理论中的边界和边界国（贝克，库珀和拉姆福德）。文章得出的结论是，Monsters尽管具有世界性的矛盾态度，但通过突出电影般的空间并将人类人物转变为空间的功能，从而对边境地区及其潜在的全球社会的发展有了复杂的理解，从而唤起了布朗的“环境”概念。