形绘“生态镜像”:论野生动物纪录片的影像表达与意义书写  

Painting the"Ecological Mirror":On the Image Expression and Meaning Writing of Wildlife Documentaries

作　　者：张诚 侯小天 ZHANG Cheng;HOU Xiaotian

机构地区：[1]上海外国语大学,上海200083

出　　处：《上海视觉》2025年第1期127-133,共7页Shanghai Vision

基　　金：上海市哲学社会科学规划课题“‘暖实力’赋能中国纪录片国家形象塑造研究”(编号:2022ZWY006)阶段性成果。

摘　　要：野生动物纪录片以野生动物为拍摄主体,并以此作为观察起点,对自然环境、生态保护成就以及人与自然之间的关系进行多方位展陈。当下我国的野生动物纪录片依循“生命共同体”理念的思想引领,从自然生灵的和谐共生、人与动物的和谐共存、人与人的和谐共建三重向度对当下中国的生态文明建设进程进行镜像展示;通过基于生态整体主义的影像呈现、深化观众情感卷入的共情表达与多感官联动体验的视听语言对中国生态故事进行柔性讲述。在当代中国,野生动物纪录片以影像为载体,为强化公众的生态文明理念、推动中国生态故事的好感传播以及抚慰观众情绪带来了现实可能。Wildlife documentaries,taking wild animals as their primary subject and obser-vation point,present multifaceted perspectives on natural environments,ecological conser-vation achievements,and human-nature relationships.Contemporary Chinese wildlife docu-mentaries,guided by the concept of "community of life",mirror China's ecological civilization construction through three dimensions:the harmonious symbiosis among natural beings,the peaceful coexistence between humans and animals,and the collaborative harmony among hu-mans.These documentaries present Chinese ecological narratives through holistic ecological imagery,deepened emotional engagement through empathetic expression,and multi-sensory audiovisual language.In contemporary China,wildlife documentaries serve as visual vehicles that strengthen public ecological consciousness,promote positive reception of China's environ-mental narrative,and provide emotional solace to viewers.

关 键 词：纪录片 野生动物 生命共同体 影像传播 人与自然关系 

分 类 号：J952[艺术—电影电视艺术]