“发现和重建对世界的信仰”:当代西方生态电影思潮评析  

Ecological Sensibility in Contemporary Western Cinema and the Theory of Ecocinema

作　　者：孙绍谊[1] 

机构地区：[1]上海戏剧学院电影电视学院

出　　处：《文艺理论研究》2014年第6期60-70,共11页Theoretical Studies in Literature and Art

基　　金："上海市高校一流学科建设计划A类戏剧与影视学资助"项目

摘　　要：本文旨在分析和评介20世纪末、21世纪初在生态文学思潮直接影响下逐渐成熟的"生态电影"理论和实践。在重点评述和总结新世纪美英生态电影学者主要论说的基础上,本文认为,作为一种观念和批评方法,生态电影理路已经摆脱了生态文学理论的荫佑,形成了自身的独立品格和语汇。就电影本体而言,生态电影的影像呈现、表现样式和镜头语言成为讨论的热点;就创作实践而言,生态意识日益浮出叙事,与生态电影理论构成了相辅相生的良性交互关系;就电影研究而言,早期生态电影观念和批评主要以纪录和实验电影为对象,但很快就将叙事和主流乃至动画电影纳入研究视野。也许最为重要的是,在重读和重估电影史经典的同时,生态电影理论也试图或已经在广义上重新定义了电影本身。This paper aims at introducing and analyzing the theory and practice of ecocinema inspired by literary ecocriticism at the turn of the new century. Based on an examination of the main concepts and lines of thought of some prominent ecocinema theorists and thinkers in the West,the paper argues that ecocinema has acquired its own terminology and become independent of its literary predecessor. This is mainly demonstrated in four aspects. First,from the perspective of cinema as a visual medium,debates about ecocinema have centered on issues of cinematic representations,film genres,and visual languages. Secondly,from the perspective of ecocinema practice,ecological sensibility has emerged from behind the narrative and become an integral part of storytelling in film production,with ecocinema theory and practice establishing a mutually informed and beneficial relationship.Thirdly,from the perspective of film studies,early critical literature on ecocinema tends to draw a self-imposed boundary,limiting its scope of investigation to documentaries and experimental films,but this limit has soon been transgressed to include mainstream / commercial films,even including animations. Perhaps most importantly,in re-reading and reevaluating film classics,ecocinema theory is redefining or has already redefined what is cinema.

关 键 词：生态电影 生态批评 生态意识 电影与哲学 

分 类 号：J905[艺术—电影电视艺术]