梅亚苏的“科外幻”设想在两个方面受到质疑：一是难以找到纯粹的“科外幻”叙事；二是难以为“科外幻”提供统一的意义解读框架。在“科外幻”的世界里，虽然运行着相互感知的逻辑，但缺乏将表象联结起来的法则。“科外幻”这一概念强调虚构在本体论层面的可能性，而电影作为一种实验性装置，恰好能容纳这种范式。在后人类视域下，电影不仅能探索现实，更是一种考察超越人类当前经验和身份的媒介。影像的双重偶然机制——成像过程中的“任意瞬间”不可测定性和蒙太奇对影像时空的交互变换——体现了非线性和非人类中心的世界观。电影的“科外幻”特性允许影像相互映射为可能的形式，打破了传统的叙事和时间感知界限，同时也促使观众以多重视域和逻辑去理解电影，探索后人类时代可能出现的多元现实。

电影本体论, 科外幻, 偶然性机制, 气态感知, 后人类视域

Quentin Meillassoux’s concept of “extro-science fiction” raises questions in two aspects. Firstly, to an insignificantly degree can a narrative be considered purely “extro-science fiction”. Secondly, it is challenging to provide a unified interpretation of “extro-science fiction”. Worlds outside-science remain subject to the logic of mutual perception, but refute any laws to link representations. The concept of “extroscience fiction” emphasizes the ontological potentials inherent in creation, making it a natural fit for film as an experimental apparatus. Under a post-human perspective, film serves as a medium to probe reality and profits in the exploration of possibilities beyond current human experience and identity. The dual contingencies of film, the unpredictability of singular moments during the imaging process and the interactive transformation of cinematic space-time in montage, reflect a nonlinear and non-anthropocentric worldview. Given the extro-science characteristic of film, images can interrelate as potential forms, breaking traditional narrative and temporal boundaries. Audiences are consequently invited to perceive films through multiple perspectives and navigate the plural realities that could emerge in a post-human future.

ontology of film, extro-science fiction, contingency, gaseous perception, post-human perspective