作为盖娅的潘多拉——电影《阿凡达》的自然观研究  

Pandora as Gaia:A Study on the View of Nature in the Movie “Avatar”

作　　者：高媛 田松 GAO Yuan;TIAN Song(School of Philosophy,Beijing Normal University,Beijing,100875;Centre for Humanities,Southern University of Science and Technology,Shenzhen,Guangdong,518055)

机构地区：[1]北京师范大学哲学学院,北京100875 [2]南方科技大学人文社会科学学院人文科学中心,广东深圳518055

出　　处：《自然辩证法通讯》2020年第11期37-43,共7页Journal of Dialectics of Nature

基　　金：2017年国家新闻出版广电总局广播影视部级社科研究项目“面向生态文明的影视作品内容原创力研究”(项目编号:GDT1706)。

摘　　要：作为科幻经典,电影《阿凡达》在场景预设、故事和思想内涵几个层面都表现了极强的原创性。潘多拉星球上的场景预设,包括紧密关联的"人"与动物和植物,并不是凭空而来的,而是来自盖娅理论。电影中呈现了两种自然观的冲突,即地球人的机械自然观与纳威人的盖娅自然观;也展示了两种文明模式的冲突,基于机械自然观的工业文明与基于盖娅自然观的"原始文明",或生态文明。As a classic work of science fiction,the movie"Avatar"shows strong originality in the aspects of scene presupposition,story and ideological connotation.The presuppositions on Pandora,including the closely related"human",animals and plants,are not created by fiction,but derived from Gaia theory.In the movie,there are two kinds of views of nature,the one is the mechanistic view of nature from the homo speces of earth,the other is the Gaia view of nature from the Na’vi at Pandora.It also shows the conflicts of two kinds of civilization modes,the industrial civilization based on the mechanistic view of nature and the primitive civilization or ecological civilization based on Gaia view of nature.

关 键 词：盖娅理论 生态电影 科幻电影 自然观 文明研究 

分 类 号：N031[自然科学总论—科学技术哲学]