季风吹拂的土地:东南亚生态电影与全球南方主义  

Land Below the Winds:Southeast Asian Eco-Cinema and Global Southernism

作　　者：杨国柱 YANG Guozhu

机构地区：[1]山东艺术学院 [2]上海大学

出　　处：《当代美术家》2024年第4期4-21,共18页Contemporary Artists

摘　　要：全球生态美学的表述与实践大多源于全球北方,但全球南方呈现出独特的美学特征与认识论模式,蕴含着比全球北方更具批判性的政治潜能。从以东南亚为代表的全球南方的角度来看待人类世的新兴生态电影美学,主要呈现为幽灵影像、季风影像和盖娅影像三个方面。当生态已经成为超越国族疆界而逐渐走向去政治化的生物区域主义的时候,东南亚电影将生态问题置入全球南方框架下,进而变得再政治化了。同时,它们启示我们必须成为生态电影类型学中的行动者,即从批判实践走向社会行动,以此书写自己的地球奥德赛。While most expressions and practices of global ecological aesthetics originate from the Global North,the Global South presents unique aesthetic characteristics and epistemological patterns,and contains a more critical political potential than the Global North.From the perspective of the Global South and the Anthropocene,the emerging eco-cinema of Southeast Asia is mainly characterized by ghost images,monsoon images,and Gaia images.Ecology has become a regionalism that transcends national boundaries and gradually moves towards depoliticization.Southeast Asian films place ecological issues within the framework of the Global South,and thus become re-politicized.At the same time,they reveal that we must become actors in the eco-cinema typology.We need to move from critical practice to social action,writing our own planetary odyssey.

关 键 词：生态电影 全球南方 东南亚 幽灵影像 季风影像 盖娅影像 

分 类 号：J905[艺术—电影电视艺术] D815[政治法律—国际关系]