The specter plays an archetypal role in film and literature, whether as a Freudian return of the repressed, the manifestation of a posthumous desire for justice, or an incarnation of our death-related fears, hopes, and anxieties. Yet, whatever the purpose, the ghost disrupts the symbolic order of society; as Slavoj Žižek aptly notes, the dead never stay properly buried (1992, p. 23). Colin Davis expands on this point in his seminal work Haunted Subjects, linking this spectral transgression to what he calls the “unfinished business model of commerce between the living and the dead” (2007, p. 3), in which the ghost returns only in order to be sent away. Despite the variety of proposed interpretations of the spectral,¹ most concur that specters upset the status quo. From prominent interpretations such as Abraham and Torok's (1994) psychoanalytic analysis of the spectral as an attempt to prevent the unearthing of shameful ancestral secrets and Avery Gordon's (2008) description of haunting as an eruption of repressed social violence, to the Derridean post-structuralist alignment of the spectral with literature, these views underscore the pervasive disruption of the haunted by the specter. In this vein, this article singles out a set of recent horror films – that I dub phantom persecution films – which depict this disruptive haunting as an ethical relationship, wherein the self is called to account by the other (the spectral alterity).

中文翻译：

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被他者困扰：列维纳斯、德里达和迫害幽灵

幽灵在电影和文学中扮演着典型的角色，无论是作为弗洛伊德式被压抑者的回归、死后对正义的渴望的表现，还是我们与死亡相关的恐惧、希望和焦虑的化身。然而，无论出于何种目的，鬼魂扰乱了社会的象征秩序；正如斯拉沃伊·齐泽克 (Slavoj Žižek) 恰当地指出的那样，死者永远不会被妥善埋葬 (1992, p. 23)。科林·戴维斯在他的开创性著作《闹鬼的主题》中扩展了这一点，将这种光谱的侵犯与他所谓的“生者与死者之间未完成的商业商业模式”（2007 年，第 3 页）联系起来，其中鬼魂只在为了被送走。尽管对光谱提出了各种各样的解释，¹大多数人都同意，幽灵扰乱了现状。从著名的解释，如亚伯拉罕和托罗克 (1994) 对光谱的精神分析分析，试图阻止可耻的祖先秘密的发现，以及艾弗里·戈登 (Avery Gordon) (2008) 将闹鬼描述为压抑的社会暴力的爆发，到德里德的后结构主义将光谱与文学对齐，这些观点强调了幽灵对困扰者的普遍破坏。在这种情况下，本文挑选出一组最近的恐怖电影——我称之为幻影迫害电影——将这种破坏性的困扰描述为一种道德关系，其中自我被他人（光谱他者）要求负责。