物质性,地质美学与行星未来:人类世语境下的媒介地质学  

Materiality,Geoaesthetics and Planetary Futures:Geology of Media in the Context of the Anthropocene

作　　者：杨君陶 Juntao Yang

机构地区：[1]美国哥伦比亚大学

出　　处：《戏剧与影视评论》2024年第6期63-77,共15页Review of Theatre and Film

摘　　要：媒介地质学系欧美媒介研究领域新兴议题,旨在为媒介艺术研究和批评提供一种地质学的视角,有助于分析媒介艺术作品中四个层次的地质学:媒介物质性的生产与报废中的地球物理学;媒介艺术所表现和重构的地质事件;地质事件与人类物质活动的互渗与纠缠;地质客体的痕迹与人类情感记忆的交又。本文通过溯源媒介地质学的学术脉络,分析Jussi Parikka和Sasha Litvintseva的理论框架,以及《天坑》和《悲兮魔兽》两部电影,希望发展一种更加动态和复杂的地质学美学框架,并利用其尝试处理中国生态电影在全球人类世中的特殊位置,以期对目前的生态批评领域的去殖民化有所增益。The geology of media is an emerging topic in the field of media studies in western nations,aiming to provide a geological perspective for the study and criticism of media art,and to help analyse four levels of geology of media artworks:the geophysics of the production and disposal of media materiality;the geological events represented and reconstructed by media art;the interpenetration and entanglement of geological events and human material activities;the intersection of traces of geological objects and human affective memories;and the Intersection of the geological objects and human emotional memories.By analysing the geological theories of Jussi Parikka and Sasha Litvintseva,as well as the films Salarium and Behemoth,this essay aims to develop a more dynamic and complex geological framework with which to try to deal with the particular place of Chinese eco-cinema in the global Anthropocene,with a view to contributing to the current field of ecocriticism.

关 键 词：媒介地质学 人类世 生态批评 物质性 表征 

分 类 号：G63[文化科学—教育学]