本文選題：環(huán)保電影 + 生態(tài)意象　； 參考：《中國青年社會科學》2017年03期

【摘要】：全球性生態(tài)危機背景下環(huán)保電影獲得了豐碩的商業(yè)成果和公益價值。環(huán)保電影是環(huán)境傳播的重要表現(xiàn)形態(tài),成為環(huán)境政治的普及化表達方式。環(huán)境主義和生態(tài)主義揭示了不同的生態(tài)意旨,在環(huán)保電影中地貌形態(tài)、生物形態(tài)以及人類形態(tài)及其內(nèi)部系統(tǒng)構(gòu)建了多重生態(tài)圈,它們的能量互動關系是環(huán)保電影視覺生產(chǎn)機制的邏輯起點。人類中心主義、生物中心主義和生態(tài)中心主義在環(huán)保電影視覺形象的建構(gòu)中呈現(xiàn)出不同的環(huán)境意識形態(tài)和審美特征。受眾可以在影像敘事的體驗中去反思世界形態(tài)負載的話語邏輯和權(quán)力關系。
[Abstract]:Under the background of the global ecological crisis, the environmental protection film has obtained the abundant commercial achievement and the commonweal value. Environmental film is an important form of environmental communication and becomes a popular expression of environmental politics. Environmentalism and ecologicalism reveal different ecological intent. In environmental movies, many ecological circles are constructed, such as geomorphology, biological forms, human forms and their internal systems. Their energy interaction is the logical starting point of environmental protection film visual production mechanism. Anthropocentrism, biocentrism and ecocentrism show different environmental ideology and aesthetic characteristics in the construction of visual image of environmental protection movies. The audience can reflect on the discourse logic and power relation of the world form in the experience of image narration.
【作者單位】： 中國青年政治學院新聞傳播學院;重慶工商大學文學與新聞學院;
【基金】：教育部哲學社會科學規(guī)劃基金一般項目“環(huán)境傳播場域沖突機制與輿論引導策略研究”(課題編號:15YJAZH056)的階段性研究成果
【分類號】：J905;X-4
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本文編號：1878837