【摘要】：工業(yè)革命為人類(lèi)帶來(lái)了經(jīng)濟(jì)的繁榮和生活的便捷,同時(shí)也打破了地球自身原本和諧、穩(wěn)定的狀態(tài),頻繁的自然災(zāi)害將人類(lèi)陷落于嚴(yán)峻的生態(tài)危機(jī)之中。于是,呼喚人與自然的相互和諧、構(gòu)建生態(tài)文明社會(huì)便成了人類(lèi)的共同話題和整個(gè)時(shí)代的新主題。生態(tài)電影在全球風(fēng)起云涌的生態(tài)思潮下應(yīng)運(yùn)而生,它以視覺(jué)影像重新樹(shù)立自然主體地位,消解人類(lèi)中心主義思想,將考察目光置于更廣闊的宇宙大環(huán)境,從生命中心的角度去審視世界,對(duì)當(dāng)下的生存危機(jī)進(jìn)行深入探討。經(jīng)過(guò)短短幾十年的發(fā)展,生態(tài)電影已經(jīng)逐漸成為一種不容忽視的電影類(lèi)型,并和其他生態(tài)學(xué)科共同建構(gòu)起生態(tài)學(xué)的整體架構(gòu)。值得注意的是,盡管在相同的時(shí)代背景下,中外生態(tài)電影存在一定的美學(xué)共性,但是在表現(xiàn)形式和敘事形態(tài)上卻是多種多樣的,故事片用冷靜平淡的基調(diào)講述人與自然之間的故事;紀(jì)錄片真實(shí)的呈現(xiàn)出了地球上每一種生命的生活方式和生存樣態(tài);災(zāi)難片用光電特效展示了災(zāi)難給人類(lèi)帶來(lái)的傷害和社會(huì)秩序的失控。與此同時(shí),不同國(guó)家的電影人在不同文化語(yǔ)境下,產(chǎn)生了不同的生命認(rèn)識(shí)和價(jià)值體驗(yàn),在各國(guó)的生態(tài)電影中都閃現(xiàn)著獨(dú)屬于他們的傳統(tǒng)生態(tài)觀念,而東西方的生態(tài)文化也通過(guò)電影實(shí)現(xiàn)了交流與對(duì)話,在相互的交融中架構(gòu)出完整的生態(tài)電影體系。從中國(guó)傳統(tǒng)的天人合一到歐洲的詩(shī)意棲居,兩者在不同的關(guān)注視域下表達(dá)了對(duì)回歸家園的渴望;中國(guó)和美國(guó)在生態(tài)電影中都十分強(qiáng)調(diào)人的主體性地位,不同的是中國(guó)人始終在強(qiáng)調(diào)集體主義精神,而美國(guó)則表現(xiàn)出強(qiáng)烈的個(gè)人英雄主義,這與中美兩國(guó)的傳統(tǒng)文化和人生態(tài)度有著密切的聯(lián)系;在電影商業(yè)化的趨勢(shì)下,美國(guó)的生態(tài)電影最大程度的追求經(jīng)濟(jì)利益,歐洲卻仍然保持著對(duì)藝術(shù)性的挖掘,在以基督教為主流的社會(huì)價(jià)值觀影響下,歐美電影人也在各自的生態(tài)電影中對(duì)人性和傳統(tǒng)的宗教信仰不斷進(jìn)行反思。
[Abstract]:The industrial revolution brought economic prosperity and convenience to human life, but also broke the original harmonious and stable state of the earth itself, frequent natural disasters trapped mankind in a severe ecological crisis. Therefore, calling for the mutual harmony between man and nature, the construction of ecological civilization society has become the common topic of mankind and the new theme of the whole era. Ecological film emerges as the times require under the global trend of ecological thought. It re-establishes the position of natural subject with visual image, dispels the anthropocentrism thought, and puts the inspection sight on the broader universe environment. Examine the world from the point of view of life center, and probe into the crisis of existence. After a few decades of development, ecological film has gradually become a kind of film that can not be ignored, and together with other ecological disciplines to construct the overall framework of ecology. It is worth noting that, although there are certain aesthetic commonalities in Chinese and foreign ecological movies under the same background of the times, they are varied in their forms of expression and narrative forms. The feature film tells the story between man and nature in a calm and flat tone. The documentary shows the way of life and the way of existence of every kind of life on earth. The disaster film shows the damage caused by the disaster and the disorder of social order with photoelectric effects. At the same time, the filmmakers of different countries have different life cognition and value experience in different cultural context. In the ecological movies of different countries, there is a unique traditional ecological concept belonging to them. The ecological culture of East and West has also realized the exchange and dialogue through the film, and constructed the complete ecological film system in the mutual blend. From the traditional unity of man and nature in China to the poetic dwelling in Europe, they express their desire to return to their homeland from different perspectives of concern. Both China and the United States emphasize the subjective status of human beings in ecological movies. The difference is that the Chinese have always emphasized the spirit of collectivism, while the United States has shown a strong sense of individual heroism, which is closely related to the traditional culture and attitude towards life between China and the United States. The ecological movies in the United States pursue economic interests to the maximum extent, but Europe still keeps digging into the artistic nature, under the influence of the social values of Christianity as the mainstream. European and American filmmakers also reflect on human nature and traditional religious beliefs in their own ecological films.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J905

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