







































 Humanities and Social Science Research; Vol. 7, No. 3; 2024 

ISSN 2576-3024   E-ISSN 2576-3032 

https://doi.org/10.30560/hssr.v7n3p132 

 132 Published by IDEAS SPREAD 

 

A Comparative Study of Spatial Narratives in Eastern and Western 

Cyberpunk Films 

Siyu Long1 & Won-Ho Choi1 

1 Department of Visual Contents, Dongseo University, Busan, Republic of Korea 

Correspondence: Won-Ho Choi, Department of Visual Contents, Dongseo University, Busan, Republic of Korea. 

E-mail: longsiyumimi429atsina.com(Si-Yu Long), choiwhatdongseo.ac.kr(Won-Ho Choi) 

 

Received: November 25, 2024; Accepted: December 29, 2024; Published: December 30, 2024 

 

Abstract 

This study takes representative cyberpunk films from the East and the West as the research object, compares them 

from the perspective of spatial narration, and reveals the similarities and differences in their narrative styles and 

cultural expressions. In terms of physical space, narrative space, psychological space, auditory space, and virtual 

space, it explores the complex relationship between technology and humanity, society and individual, and its 

multidimensional expression in cyberpunk films from the East and the West. This study emphasizes the central 

role of spatial narratives in Eastern and Western Cyberpunk Films and provides theoretical support for an in-depth 

study of the global influence of cyberpunk culture and its narrative strategies. 

Keywords: cyberpunk, Eastern and Western Cyberpunk Films, spatial narrative 

1. Introduction 

With the rapid development of technology and accelerated globalisation, cyberpunk has gradually become a global 

cultural phenomenon. Since its rise to fame in the 1980s, with William Gibson's <Neuromancer> as its masterpiece, 

cyberpunk has rapidly expanded into literature, film, animation and games. In the realm of film in particular, 

cyberpunk films have become important vehicles for visual art and ideological exploration, with their unique 

spatial narratives of futuristic cityscapes, virtual spaces and ruin aesthetics, as well as their profound reflections 

on technological alienation. Differences in cultural backgrounds between East and West have made cyberpunk 

films display unique styles and connotations in spatial narratives, providing rich material for academic research 

and cultural understanding. 

Current research on cyberpunk films focuses on visual aesthetics, technological themes, and anti-utopian narratives, 

but in-depth comparative studies of their spatial narratives are lacking. In particular, some scholars argue that 

although the spatial levels of film narratives are currently being discussed, they are mainly focused on the 

framework of understanding narratives, with few comparisons across cultures or genres(Branigan, 2013). Spatial 

narrative is not only an important tool for constructing narrative logic in cyberpunk film, but also an important 

medium for representing the relationship between technology and society, which urgently needs to be further 

explored.  

In both Eastern and Western cultures, the spatial narratives of cyberpunk films often reflect different cultural values 

and social backgrounds. Western cyberpunk films tend to emphasise the sense of alienation and individual 

resistance brought about by technological progress, while Eastern cyberpunk films are more concerned with 

spirituality and the continuation of traditional culture. Exploring these differences can help to reveal the diversity 

of cyberpunk cultural expressions and provide new perspectives for understanding the cultural exchanges reflected 

in cyberpunk films in the context of globalisation. 

Therefore, this study takes representative cyberpunk films from the East and the West as research objects, compares 

them from the perspective of the spatial narrative, and tries to reveal the differences and similarities between the 

two in terms of narrative style, visual symbols, and cultural expression. It provides theoretical support for an in-

depth study of the global influence of "cyberpunk" culture and its narrative strategies. 

2. Theoretical Background 

2.1 Cyberpunk Movies 

The emergence of "cyberpunk" films is inseparable from "cyberpunk" novels, as the latter laid the basic worldview, 

the narrative framework, and thematic elements for cyberpunk films. "Cyberpunk" was initially known as a 



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subgenre of science fiction novels(McCaffery, 1991). The long-form science fiction novel <Neuromancer> by 

William Gibson gained popularity in the science fiction community and is considered "the archetypal cyberpunk 

work," establishing the foundational worldview framework for cyberpunk narratives( Zhang, X., & Jin, S., 2020). 

In 1982, renowned director Ridley Scott adapted <Blade Runner> for the screen, marking the crossover of 

"cyberpunk" from literature to film. This film is recognized as the first cyberpunk film and is regarded as a 

"cyberpunk classic"(Jiang zhenyu, 2019). Since then, numerous cyberpunk films have emerged, such as <Tron> 

(1982), <The Terminator> series, <The Matrix> series, <Johnny Mnemonic> (1994), <Artificial Intelligence> 

(2001), and <Blade Runner 2049>(2017). Currently, there is no unified understanding or definition of the concept 

of "cyberpunk films," and few scholars have directly defined the term. However, discussions by scholars on 

cyberpunk style, culture, and literary characteristics offer valuable insights for defining the concept of cyberpunk 

films. 

Cyberpunk films are one of the most important elements for understanding postmodernism(Butler, 2003). From 

the perspective of style and characteristics, typical cyberpunk films are enclosed and dark, reflecting "a pessimistic 

attitude towards the increasing computerization and urban centralization of contemporary life." The cognitive 

mapping produced by cyberpunk novels represents an attempt to "find an appropriate way to present the powerful 

yet problematic technological logic of the postmodern condition." It systematically alters our basic perceptions of 

who we are, where we come from, what is real, and what holds the greatest meaning in human life(McCaffery, 

1991). Cyberpunk resists centralized authority and collective structures, favoring a decentralized subcultural use 

of science and technology to meet the needs of relevant individuals(Kellner, 2003). Cyberpunk novels use 

technology to counter technology itself, controlling the mediocrity of the media industry and reconstructing a sense 

of crisis and urgency. Cyberpunk culture inherently possesses postmodern uncertainty and a rebellious 

tension(Cavallaro, 2000). The core and extension of cyberpunk films both exhibit "binary opposition 

characteristics"(Zhou lijun, 2020). 

In summary, the cyberpunk film is unique in the science fiction film system. It uses the not-too-distant future as a 

time background to reveal the erosion of technology on human nature and society, as well as the deep conflict 

between man and technology. Most of the film's characters are cyborgs, reflecting the protagonists' themes of 

identity loss and self-resistance. With visual symbols such as neon lights and data streams, an anti-utopian 

atmosphere is created, creating a unique narrative dimension and artistic style. 

2.2 Spatial Narratives 

Spatial Narrative is a theoretical paradigm developed in the 'spatial turn' of Western narrative theory in the early 

20th century, which belongs to the important field of post-classical narrative, and is based on spatial cognitive 

research in geography, sociology, urban studies, cultural studies and psychology. Spatial narrative takes spatial 

(material or immaterial) elements as a medium, expresses information in the form of narrative through the social 

significance of energy and reference in semiotics, so that the subject of the audience obtains corresponding 

perception and experience through the cognitive consciousness of the self, which takes time, space and cause and 

effect as the logical core, presents the characteristics of coexistence and co-temporality, and forms a spatial 

juxtaposition of the narrative structural system, a kind of 'Spatiotemporal Complex' theoretical approach (Xiao, J., 

& Cao, K., 2013). The starting point for the study of spatial narrative is the narrative space that has a narrative 

function, rather than the space that serves as a background, static space to be narrated" (Zou bo, 2011). Spatial 

narrative is prevalent in the textual narrative of all literary works, and each literary work has its own unique 

narrative space. However, not all narrative spaces can participate in the function and expression of spatial narrative. 

The theory of spatial narrative is not only concerned with the spatial object itself, but also focuses on exploring 

the process of "how to perceive". In analysing and understanding space, it bridges the gap between space, culture, 

society and subjective consciousness, and emphasises the constructive and inclusive nature of spatial cognition(Liu 

naifeng & Zhang nan, 2015). 

Furthermore, spatial narrative is defined as a narrative phenomenon that exists in all kinds of narrative works. In 

spatial narratives, space is a means or a tool of narrative, and narratives require space to demonstrate their contents; 

narratives often depict a certain segment of life, which has both temporal and spatial elements. 

In conclusion, the definition of spatial narrative can be summarised as follows: spatial narrative is a theoretical 

framework that integrates the concepts of time and space, employing narrative as a medium for the presentation 

of content. This theoretical framework finds extensive application in the domains of literature, art, and cultural 

studies. 

Film spatial narrative is composed of three aspects: visual space, which organises the narrative; auditory space, 

which supplements the narrative; and virtual space, which extends the narrative. The spatial narrative of film is 



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categorised into three primary levels: the interiority of space, the limitation of space, and the internal and external 

permeability of space (Jiao, Y., 2009). These three levels reveal the composition and expression of film space in 

the narrative from different perspectives, elucidating the unique role of space as an important medium of film 

narrative. In the examination of the spatial narrative in the film, scholars have explored the elements from multiple 

perspectives, providing their own theoretical perspectives and analytical frameworks. The following table 1 

provides a summary of some of these scholars' contributions. 

 

Table 1. Formulations of some scholars on the elements of spatial narrative examination in the film 

Academia Elements of investigation Source 

Edward 

Branigan 

The spatial narrative hierarchy can be divided into three categories: 

physical space(which is the setting for the unfolding of the story); 

narrative space(which is constructed from the narrator's or 

character's point of view); psychological space(which is the 

projection of the character's inner activities). 

<Narrative 

Comprehension and 

Film>(1992) 

Giuliana 

Bruno 

Spatial narratives can be divided into three categories. the 

emotionality of space, which can be defined as the manner in 

which space is portrayed in film, with emotion conveyed through 

visual and tactile experience, and with space deeply integrated with 

the narrative theme. the mobility of space, which can be defined 

as the manner in which space is portrayed in film, with dynamic 

shots and character movement creating a sense of narrative flow. 

space and memory, which can be defined as the manner in which 

space acts as a container for memory, and with the scene design in 

narratives often carrying historical and emotional projections. 

<Atlas of Emotion: 

Journeys in Art, 

Architecture, and Film> 

(2002) 

Laura 

Mulvey 

Spatial narratives can be understood on two levels: firstly, 

gendered spatial perspectives, which serve to reinforce gendered 

power relations through the construction of space. Secondly, the 

viewing mechanism of spatial narratives is of significance, as it 

shapes character positions through the lens and spatial 

presentation. 

<Visual Pleasure and 

Narrative film> (2006) 

Wei Nannan 
Spatial narrative strategies in crime films include: the narrative 

point of view, the  narrative symbols, the spatial form. 

<Study of Spatial 

Narrative in Domestic 

Crime Films (2010-

2020)> (2021) 

Diao Yinan 

Spatial narratives in films can be divided into three types: 

geographic space, social space and spiritual space, each of which 

has its own unique narrative function and expression. 

<A Study of Spatial 

Narrative in Diao Yinan's 

Film> (Guo Qiqi / 2023) 

Yorgos 

Lanthimos 

The spatial narrative characteristics in Yorgos Lanthimos' films are 

reflected in the presentation of spatial types, the shaping of 

characters through spatial arrangements, and the promotion of plot 

development by space. 

<A Study on Spatial 

Narratives in Yorgos 

Lanthimos' Films> 

(Shangguan Yuxue / 

2024) 

 

Comprehensively, it is concluded that spatial narrative in the film as a unique way of expression. This study mainly 

explores the spatial narratives of Eastern and Western cyberpunk films from multiple dimensions such as physical 

space, narrative space and psychological space, auditory space and virtual space. The contents covered by each 

space are comprehensively organised as shown in Table 2. 

 

 

 

 

 

 



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Table 2. Content covered by each space in the spatial narrative in the film 

Narrative Space 

Classification 
content 

Physical space 

The basis of narrative, physical space carries the geographical background and environment of the 

story. Through the detailed depiction of geographical space, such as cities, buildings, rooms and other 

specific places, the scene of the story is constructed. 

Narrative space 

Narrative space guides the narrative development through scene transformation, spatial sequence and 

lens language, dynamically connects characters and events, and strengthens the logic and tension of 

the plot. 

Psychological 

space 

Psychological space expresses the inner world of characters through visual and auditory means, such 

as the mirror reflection of self-cognition, broken scene metaphor psychological conflict, dark tone 

environment rendering repressed emotions, and so on, injecting metaphor and the emotional depth 

into the narrative. 

Auditory space 
Environmental sound effects, music and dialogue jointly shape the narrative atmosphere of space, 

extending the narrative tension and emotional appeal of the visual space. 

Virtual space 
By constructing a visual experience beyond reality through digital technology, the virtual and reality 

are interwoven into a multi-dimensional space, providing more possibilities for the narrative. 

 

Through a detailed investigation of these five Spaces, this study will further explore how cyberpunk films create 

unique styles through spatial narration, and analyze the cultural differences and creative characteristics of Eastern 

and Western cyberpunk films in spatial expression. 

3. Selection of Research Methods and Research Samples 

3.1 Research Methods 

In order to explore the differences and similarities between eastern and western cyberpunk films in spatial narrative, 

the following methods will be adopted in this study: 

1) Literature analysis: Through the analysis of academic literature and theoretical books related to cyberpunk 

films, the basic characteristics of cyberpunk films and the connotation of spatial narrative are sorted out. 

2) Case analysis: The representative cyberpunk films of the East and West are selected as samples to 

specifically analyze the role of spatial narrative in them. 

3) Comparative analysis method: Make horizontal comparison between selected Eastern and Western films, 

discuss their similarities and differences from aspects of narrative mode, visual symbols, space design and cultural 

connotation, and compare the similarities and differences and summarize the rules. 

Through the above methods, this study aims to fully reveal the differences and similarities of eastern and western 

cyberpunk films in spatial narrative, and provide theoretical support for further study of cyberpunk  films. 

3.2 Research Sample 

When comparing the spatial narrative of eastern and western cyberpunk films, the selection of film samples should 

take into account the scientificity, representativeness and analyzability. The selection of samples is based on (1) 

The selection of films combined with the characteristics of cyberpunk films; (2) Combining the representativeness 

and influence of the film, that is, it is recognized in academic circles as a classic work reflecting the theme of 

cyberpunk; (3) Box office and audience influence, that is, works with high box office tend to have wider influence 

in popular culture, reflecting audience acceptance and communication; (4) Film and television works that have 

won authoritative film awards at home and abroad and are highly praised by industry insiders and bachelor 

researchers. In terms of time dimension, the eastern and western cyberpunk films in the 1980s, 1990s and after 

2000 are selected as research objects, which can provide rich historical, cultural and technical background for the 

discussion of spatial narration, and show the evolution and development of this film genre in different times. 

Therefore, The western cyberpunk films <Blade Runner>(1982), <The Matrix>(1999), <Ex Machina>(2015) are 

selected, as shown in Table 3. Eastern cyberpunk films <Akira>(1988), <Ghost in the Shell>(1995), <Appleseed> 

(2004) are selected, as shown in Table 4. 

In Table 3, although <Blade Runner> initially underperformed at the box office, it gained recognition in the fields 

of technology and art for its visual effects, cinematography, and profound philosophical themes. Its place in film 

history was solidified through subsequent awards and recognitions. For example, at the 1982 Los Angeles Film 

Critics Association Awards (LAFCA Awards), the film won Best Cinematography; at the 1983 British Academy 



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Film Awards (BAFTA Awards), it received the award for Best Cinematography; in 1993, <Blade Runner>was 

inducted into the National Film Registry by the United States National Film Preservation Board; and in 2008, it 

won the Hugo Award for Best Dramatic Presentation. In terms of narrative characteristics, the film's multi-layered 

spatial expression (such as the dark urban landscape of Los Angeles and the dystopian environment) reflects the 

alienation between humans and technology. 

<The Matrix> is considered one of the greatest science fiction films of all time, and in 2012 the film was selected 

for preservation by the Library of Congress in the United States National Film Registry for its‘cultural, historical, 

and aesthetic significance’(Silver, J., Wachowski, A., & Wachowski, L. , 1999). In terms of narrative features, the 

intersection of virtual cyberspace with the real world brings a new dimension to cyberpunk spatial narratives. 

<Minority Report> was named by Roger Ebert as one of his favourite films of the 2000s(Ebert, R. , 2012). 

Similarly, The Washington Post selected Minority Report as one of the 23 best films from 2000 to 2018. In terms 

of narrative features, the narrative structure is interwoven with multiple threads, and virtual space mirrors the real 

scene, while shaping an anti-utopian future social form. 

 

Table 3. Introduction to Western Cyberpunk Film Cases 

Year Film Director Reasons for selecting samples 

1982 
<Blade 

Runner> 
Ridley Scott 

It redefined the visual style of science fiction films, combined the depression of 

future cities with the prosperity of neon, and created the aesthetic paradigm of 

cyberpunk (Sobchack, V. C., 1997). With its visual design and philosophical 

connotation, Blade Runner has gradually become the core work of academic 

research on cyberpunk and science fiction films (Sammon, P. , 1996). 

1999 
<The 

Matrix> 

The 

Wachowskis 

The film grossed over $460 million at the box office in 1999. The film won awards 

for Best Visual Effects, Best Film Editing, Best Sound and Best Sound Editing at 

the 72nd Academy Awards. 

2015 
<Minority 

Report> 

Steven 

Spielberg 

The film totalled $132 million at the U.S. box office and $226.3 million overseas. 

75th Academy Awards for Best Sound Editing, and BAFT As for Best Visual 

Effects. 

 

In Table 4, <Akira> started the trend of Japanese cyberpunk, with spatial narratives full of apocalyptic and anti-

utopian imagery. In terms of narrative characterisation, the destruction and rebuilding of the city of Neo-Tokyo 

exemplifies the oppression and chaos of modern urban space.<Ghost in the Shell >is a Japanese cyberpunk media 

series based on the manga series of the same name written and illustrated by Masamune Shirow. Several film and 

television series have been adapted, and games and other peripherals have been produced. He is a masterpiece of 

Eastern cyberpunk, exploring the symbiotic relationship between man and technology, with a highly philosophical 

spatial narrative. It has had a profound impact globally, being adapted several times and inspired by Western 

directors. In terms of narrative features, the conflict between technology and identity is shown through multi-

dimensional narratives such as urban space, cyber space and personal consciousness. <Appleseed> is 

groundbreaking in the fields of animation technology, cyberpunk aesthetics and science fiction narrative. 

 

Table 4. Introduction to Eastern Cyberpunk Film Cases 

Year Film Director Reasons for selecting samples 

1988 <Akira> 
Katsuhiro 

Otomo 

The film had a production cost of 1 billion yen. It is also considered 

a key film in the cyberpunk genre. In 1992, <Akira> won the Silver 

Scream Award at the Amsterdam Fantastic Film Festival. 

1995 <Ghost in the Shell> Mamoru Oshii 

It won the Best Screenplay Award at the Yokohama Film Festival. 

The film is regarded as "a paradigm of postmodern animation" and 

holds milestone significance in cyberpunk aesthetics and 

philosophical reflection (Napier, 2001). 

2004 <Appleseed> 
Shinji 

Aramaki 

<Appleseed> is one of the early animated works that successfully 

combined 3D computer graphics (CG) with cel-shaded animation. 

While its box office performance in Japan was moderate, it 

achieved long-tail success in international markets through DVD 

sales and streaming platforms. 



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From Table 4, it is easy to see that Eastern cyberpunk films are dominated by Japanese animation, a phenomenon 

that may be influenced by multiple factors such as cultural background, creative tradition and the advantages of 

animation technology. Cyberpunk themes explore the conflict between technology and human nature, class 

division and social alienation in a future society, and the economic boom and urbanisation of Japan in the 1980s 

provided a realistic resonance for such themes. The traditional idea of symbiosis between human beings and 

technology in Japanese culture also provides a unique perspective for the creation of cyberpunk. At the same time, 

the visual presentation of cyberpunk requires a great deal of special effects production, while the Oriental film 

industry is relatively weak in this area, Japan has a perfect animation industry system, animation becomes a more 

feasible choice. 

To sum up, the above six Eastern and Western Cyberpunk Filmss not only conform to the core characteristics of 

cyberpunk cinema, but also have strong representativeness due to their unique narrative themes and visual styles. 

In terms of spatial narrative, these works show distinctive stylistic differences and commonalities, which can be 

used as a case study for comparative analyses of Eastern and Western Cyberpunk Filmss, and can reveal the 

narrative strategies and stylistic features of cyberpunk films in different regional cultures, providing important 

references for the study of cyberpunk genre films. 

4. Comparative Analysis 

In conducting a comparative analysis of spatial narratives in Eastern and Western cyberpunk films, six films 

mentioned above will be used as samples, i.e.,  samples of Western cyberpunk films are <Blade Runner> (1982), 

<The Matrix> (1999), <Ex Machina> (2015); the samples of Eastern cyberpunk films are <Akira> (1988), <Ghost 

in the Shell> (1995), <Appleseed> (2004). Meanwhile, physical space, narrative space, psychological space, 

auditory space and virtual space are examined and analysed as the core elements of spatial narrative in cyberpunk 

films, as shown in Table 1 Comparison of spatial narratives of six cyberpunk films from the East and the West is 

shown in Table 5, Table 6 . 

 

Table 5. Comparative analysis of spatial narratives in physical space, narrative space 

Film  Title Physical Space Narrative Space 

<Blade Runner> 

 

The film builds a narrative foundation of 

physical space through its depiction of the 

gloomy cityscape of future Los Angeles. 

Towering buildings, neon lights and 

never-ending rain combine to create an 

oppressive, anti-utopian world. 

The narrative logic is reinforced through 

scene transitions that depict the high-tech 

metropolis and the run-down 

neighborhoods of future Los Angeles, as 

well as through camera work that 

dynamically highlights the conflict 

between Decatur and the replicants. 

<The Matrix> 

 

The film builds its narrative on the dual 

physical space of the real world and the 

virtual matrix. The real space depicts 

desolate underground cities and a surface 

ruled by machinery; the virtual matrix is 

visually represented through highly 

technological urban landscapes and data 

flows. 

By switching scenes between the real and 

virtual matrices, as well as the language 

of the camera showing the characters' 

actions and conflicts in the two spaces, 

the confrontation between humans and 

machines is dynamically connected, 

reinforcing the tension of the plot. 

<Minority Report> 

 

The film's high-tech urban depiction of a 

future Washington DC. Self-driving 

flying cars, holographic adverts and crime 

warning systems show a highly 

technologically advanced society. 

The coherence of the plot development is 

enhanced by seamless transitions 

between scenes of the futuristic city and 

the crime warning system, as well as by 

precise camera work that captures the 

characters' pursuits and conflicts within 

the high-tech environment. 



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<Akira> 

 

Set in futuristic Tokyo , the film 

constructs a physical space full of chaos 

and contradictions through the depiction 

of dense urban landscapes, dilapidated 

streets and large-scale ruins. 

The relationships and confrontations 

between the characters are shown 

through scene-switching between 

motorbike chases, violent clashes and 

super-powered outbursts in Neo-Tokyo, 

as well as through the language of the 

camera. 

<Ghost in the Shell> 

 

Set in a futuristic city, the film combines 

high-tech architecture with traditional 

neighbourhoods. The city's neon lights, 

data networks and multi-level buildings 

create a unique physical space. 

Switching between high-tech cities, data 

networks and action scenes, as well as the 

language of the camera show the 

characters' mission execution and 

identity search. 

<Appleseed> 

 

The film is set in the futuristic city of 

Olympus, where the city's advanced 

architecture contrasts with industrial 

ruins, showing a physical space where 

high-tech and natural elements coexist. 

Through the scene switching between 

futuristic cities and industrial ruins, as 

well as the language of the camera 

showing the actions of the characters and 

the exploration of the relationship 

between humanity and technology. 

 

Table 6. Comparative analysis of spatial narratives in Psychological space, Auditory space,Virtual space 

Film  Title Psychological space Auditory space  Virtual space 

<Blade 

Runner> 

The dark colours and the sound of 

rain render loneliness and 

depressing emotions, and the 

dilapidated landscape is a metaphor 

for the collapse of society, 

deepening the psychological 

expression. 

The chilled out atmosphere of a 

futuristic city is created through 

the sound of rain, neon flashing 

background sound effects and 

low electronic music. 

Elements such as digital screens 

and holographic projections 

blur the boundaries between the 

real and the virtual, providing a 

multi-dimensional visual 

experience for the narrative. 

<The Matrix> 

The green filter renders the sense of 

oppression in the virtual world, and 

action scenes and slow-mo shots 

show Neo's inner awakening and 

struggle. 

Tension is created through 

mechanical sound effects and 

rhythmic electronic music. 

The surreal visual effects and 

dynamic digital scenes in the 

matrix demonstrate the infinite 

possibilities of virtual space. 

<Minority 

Report> 

The oppression and isolation of the 

protagonist is expressed through 

the cool colours and crowded 

scenes of the futuristic city. 

The tense atmosphere of a high-

tech society is created through 

mechanical sound effects of 

futuristic technological devices 

and a tight soundtrack. 

Visual operation of the crime 

warning system and the 

dynamic display of the virtual 

scene extend the narrative 

dimension 

<Akira> 

Through broken scenes and high-

speed action images, it expresses 

the inner chaos and anger of the 

characters, and the dark colours 

and strong contrasting light and 

shadow render the sense of social 

oppression.  

Through the roar of motorbike 

engines, the shocking sound 

effects of explosions and 

electronic music, a chaotic and 

tense atmosphere is created. 

A surreal virtual space is 

constructed through the visual 

representation of superpower 

outbursts and abstract scenes of 

consciousness expansion. 

<Ghost in the 

Shell> 

Mirror images express the 

character's identity confusion and 

Low electronic sound effects and 

ethereal background music 

The digital network connection, 

the visual representation of data 



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self-exploration, while dark 

colours and data flow render a 

sense of conflict between 

technology and loneliness.  

create the cold atmosphere of a 

futuristic city, while data flow 

and quiet dialogue express the 

character's loneliness and 

identity search.  

flow, and the character's search 

for consciousness in the virtual 

space expand the narrative 

dimension. 

<Appleseed> 

The contrast between the ruins and 

the future city expresses the inner 

conflicts and hopes of the 

characters, and the dark-toned 

scenes render depressing emotions 

after the war.  

Through the sound effects of 

mechanical equipment and cold 

electronic music, the 

technological atmosphere of the 

future city is shaped.  

Through the virtual city system 

and holographic projection 

technology, a narrative space 

intertwined with reality and 

virtual is constructed. 

 

As can be seen from the contents of the above table, at the level of physical space, Western cyberpunk films are 

centred on the portrayal of the future city, showing the coexistence of high technology and social oppression. 

Through the depiction of towering buildings, neon lights and gloomy weather, the films create an anti-utopian 

world full of oppression. In addition, Western films often show the contradictory relationship between human 

beings and technology through the contrast between reality and virtual space. These detailed designs not only 

provide a visual basis for the narrative, but also reveal the link between technological advancement and social 

alienation. Oriental cyberpunk films, on the other hand, display a unique aesthetic of physical space by blending 

traditional and modern elements. The film depicts densely populated cities, crumbling streets and ruins, presenting 

social chaos and conflict, while at the same time reflecting the combination of tradition and high technology. The 

fusion of futuristic cities and natural elements not only enhances the narrative hierarchy, but also reflects the 

Eastern culture's thinking on the coexistence of modernity and tradition. 

At the level of narrative space, western cyberpunk films demonstrate multi-dimensional spatial narrative features 

through scene switching and the use of camera language, focusing more on the opposition between individual 

resistance and social systems. For example, <Minority Report> demonstrates the suppression and conflict of 

technology on individual freedom through the transformation of the future city and the crime warning system, 

highlighting the logic and tension of the narrative. Oriental cyberpunk films, on the other hand, demonstrate the 

composite relationship between human nature and society through multi-dimensional narratives. For example, the 

scene switching between the future city and industrial ruins in <Appleseed> reveals the contradictions of the 

technological society and the intertwining of characters' emotions, showing the depth and multi-layeredness of 

oriental narratives. 

At the level of psychological space, western cyberpunk films express the complexity of characters' inner world 

and technological conflicts. For example, the mirror image in <Blade Runner> shows that the character's identity 

is lost, and the cold colours and dilapidated landscapes are a metaphor for the collapse of society, while <The 

Matrix> deepens the expression of emotion through the contrast between the virtual and the real, which expresses 

the character's cognitive conflicts and inner struggles. Oriental cyberpunk films pay more attention to the inner 

conflict of emotions and philosophical thinking. For example, <Ghost in the Shell> shows the opposition between 

the character's search for identity and technological loneliness through mirroring and data flow, while <Akira> 

shows the character's inner confusion and struggle through broken scenes and high contrasting light and shadow, 

further deepening the emotional level. 

At the level of auditory space, Western cyberpunk films reinforce the narrative atmosphere through background 

music. For example, the low electronic music and ambient sound effects of <Blade Runner> create the mood of a 

cold futuristic city, while mechanical sound effects and compact background music of <Minority Report> express 

the tension and depression of a high-tech society, enhancing the rhythm and emotional impact of the narrative. 

Oriental cyberpunk films, on the other hand, display unique atmosphere shaping through sound effects. The 

motorbike engine roar and explosion sound effects in <Akira> convey a sense of chaos and tension, while the 

ethereal background sound effects and quiet dialogue of <Ghost in the Shell> highlight the loneliness and 

philosophical thinking of the characters. 

At the level of virtual space, Western cyberpunk films construct multi-dimensional narrative scenes, blurring the 

boundaries between reality and the virtual. For example, <Minority Report> demonstrates the possibility of 

interaction between the virtual and the real through holographic projection and crime warning system, and extends 

the depth and dimension of the narrative. The surreal visual effect of the virtual matrix in <The Matrix> 

demonstrates the infinite possibilities of virtual space. The virtual space of Eastern cyberpunk films emphasises 



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philosophy and spirituality. <Akira> constructs a surreal virtual space through the abstract scenes of superpower 

explosion and consciousness expansion to strengthen the philosophical depth of the narrative. Through the 

intertwining of cyberspace and reality, <Ghost in the Shell> combines the flow of data and the search for character 

consciousness, deepening the reflection on the relationship between technology and human nature, and 

demonstrating the unique interpretation of virtual space in Oriental cinema. 

A comprehensive comparative analysis is shown in Table 7. 

 

Table 7. Comparison of spatial narratives in Eastern and Western Cyberpunk Films 

Category Western Cyberpunk Films Eastern Cyberpunk Films Similarities and Differences 

Physical space 

Cold cities that emphasise 

technological dominance and 

social oppression, such as Los 

Angeles and New York. 

Focuses on the integration of 

traditional cultural elements 

with the modern city. 

Eastern cyberpunk films are 

biased towards cultural heritage, 

while Western cyberpunk films 

are more prominent in 

industrialisation and technology. 

Narrative 

space 

Focus on individual resistance 

against social systems. 

Demonstrates the composite 

relationship between human 

nature and society through 

multi-dimensional narratives. 

Both focus on the conflict 

between people and society, but 

from different perspectives. 

Psychological 

space 

Demonstrates the anxiety of 

human beings in the face of 

technological oppression and 

expresses the complexity of the 

characters' inner world in conflict 

with technology. 

Emphasis on inner struggle and 

metaphorical expression of the 

spiritual world, paying more 

attention to the inner conflict of 

emotions and philosophical 

thinking. 

Both convey emotions through 

visual metaphors, but with 

different emphases. 

Auditory 

space 

Industrial noise and futuristic 

sense of technology are 

dominant, and the narrative 

atmosphere is strengthened by 

background music. 

Combining traditional musical 

instruments and future 

electronic sound effects, it 

shows a unique atmosphere and 

creates cultural depth through 

sound effects. 

Eastern Cyberpunk film style 

focuses on cultural presentation, 

while Western Cyberpunk film 

style is more cold and hard. 

Virtual space 

Blurring the boundaries between 

reality and the virtual, and the 

confrontation between the power 

of digital technology and the 

virtual world. 

Digital and reality are 

intertwined, emphasising the 

philosophical and spiritual. 

Both use virtual space to explore 

real issues. 

 

5. Conclusion 

Eastern and Western cyberpunk films reflect unique cultural differences in the representation of spatial narratives 

as well as demonstrate the common features of cyberpunk culture in the context of globalisation.  In the 

representation of physical space, Eastern films are more inclined to cultural heritage, showing the complexity of 

society through the fusion of traditional elements and the future city, while Western films highlight the dominance 

of industrialisation and technology, presenting a cold future cityscape. In the design of narrative space, both 

Eastern and Western films focus on the conflict between people and society, but the focus of expression is different. 

The West is more inclined to show the tension between the individual and the social system, while the East explores 

the complex intertwining of human nature and social relations through multi-dimensional narratives. In the 

expression of psychological space, both Western and Eastern films use visual metaphors to convey emotions, but 

with different emphases. Western films emphasise the anxiety and identity confusion of the characters under the 

oppression of technology, while Eastern films pay more attention to emotional depth and philosophical thinking, 

and express a more metaphorical inner world through visual and auditory sensations. In terms of auditory space, 

Western films often use industrial noise and futuristic electronic sound effects to create a cold and hard 

technological atmosphere, while Eastern films integrate traditional musical instruments and modern sound effects 

to create a more culturally the rooted narrative atmosphere.  In the construction of virtual space, both Eastern and 

Western films use virtual space to explore real issues, with the West paying more attention to the power of digital 

technology against reality, while the East stresses philosophical and spiritual exploration, deepening thinking about 



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technology and human nature. To sum up, through different narrative strategies and cultural expressions, both 

Eastern and Western cyberpunk films show the complex relationship between technology and humanity, society 

and individuals, providing a diversified presentation and reflection of cyberpunk culture. 

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