Zygmunt Bauman points out that between 1950 and the early 2010s, the estimated number of displaced people, or ‘people in transition’, increased from one to 12 million, ‘but as many as 1 billion refugees-turned-exiles and ensconced in the nowhereland of camps are predicted for 2050’. ‘[Refugee] Camps ooze finality’, he writes, ‘not the finality of destination, though, but of the state of transition petrified into a state of permanence’.1¹ This global mass of exiles, refugees and asylum seekers is both confined within highly guarded detention centres (‘fencing in’), and at the same time excluded from the general public (‘fencing out’). In short, as Bauman puts it, ‘becoming an inmate of a refugee camp means eviction from the world shared by the rest of humanity’.2² In recent decades we have seen a growing number of film and media representations that address the conditions caused by the global refugee crisis. This essay begins with a short critique of social activist, artist and filmmaker Ai Weiwei’s ‘Refugee Series’ and proceeds to a study of Australian filmmaker Gabrielle Brady’s Island of the Hungry Ghosts (2018), a documentary set on the tiny Christmas Island, geographically situated in Southeast Asia. It explores the cinematic subjectivity of the displaced human and more-than-human beings in the Anthropocene epoch, and asks how, with such collective fatigue in the face of the global refugee situation, can we address these important issues and present them via cinematic means?

中文翻译：

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人类世的放映脆弱性：饥饿的幽灵岛和难民电影的生态伦理

Zygmunt Bauman 指出，从 1950 年到 2010 年代初，估计流离失所者的人数，或“处于过渡期的人”，从 1 人增加到 1200 万人，“但有多达 10亿难民转为流放者并安居在无处可去的地方营地预计在 2050 年”。他写道，“[难民] 营地散发着终结”，“但不是目的地的终结，而是僵化为永久状态的过渡状态”。^{1 1}全球大量流亡者、难民和寻求庇护者都受到限制在戒备森严的拘留中心内（“围墙内”），同时被排除在公众之外（“围墙外”）。简而言之，正如鲍曼所说，“成为难民营的囚犯意味着被驱逐出与其他人类共享的世界”。^{2 2}近几十年来，我们看到越来越多的电影和媒体报道解决了全球难民危机造成的状况。这篇文章首先对社会活动家、艺术家和电影制片人艾未未的“难民系列”进行了简短的评论，然后研究了澳大利亚电影制片人加布里埃尔·布雷迪的饥饿鬼岛（2018 年），这是一部以地理上的小圣诞岛为背景的纪录片在东南亚。它探讨了人类世时代流离失所的人类和超人类的电影主体性，并询问在面对全球难民局势的集体疲劳中，我们如何解决这些重要问题并通过电影手段呈现它们?