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在线阅读 --哲学社会科学版 2020年6期《论生态电影批评的现状及其原则——由电影《2012》生态批评谈起》
论生态电影批评的现状及其原则——由电影《2012》生态批评谈起--[在线阅读]
李忠超1, 刘彦顺2
1. 浙江师范大学 人文学院, 浙江 金华 321004;
2. 暨南大学 文学院, 广东 广州 510632
起止页码: 72--77页
DOI: 10.13763/j.cnki.jhebnu.psse.2020.06.009
摘要
在生态电影批评实践过程中,若不能审慎地考察批评对象与理论的匹配契合度,就有可能产生“强制阐释”。正是因为没有区别自然灾难与生态灾难,许多研究者才会误认为电影《2012》呈现的是生态灾难并以生态批评的方式介入批评活动。在他们看来,只有把《2012》当作生态灾难才能进行批评,即便如此在批评时也只是局限在自然环境范畴上,而忽略了精神性、社会性家园意识生态分析的可能空间。研究者在认清现状的基础上需要注意三点原则:一是注意甄别批评对象,二是走出狭义生态批评思维,三是坚持具体的历史性。唯有正本清源,方能稳固生态美学建构起来的理论大厦,从而避免在生态电影批评实践中误入歧途。

On Current Situation and Principles of Eco-Film Criticism—Starting from the Ecological Criticism of the Film “2012”
LI Zhongchao1, LIU Yanshun2
1. College of Humanities, Zhejiang Normal University, Jinhua, Zhejiang 321004, China;
2. School of Literature, Jinan University, Guangzhou, Guangdong 510632, China
Abstract:
In the practice of eco-film criticism, if we fail to carefully examine the matching degree between the object and the theory of criticism, it may lead to "forced interpretation." For lack of distinction between natural disasters and ecological disasters, many researchers mistakenly believe that the film "2012" depicts an ecological disaster, and criticize it by way of ecological criticism. In the eyes of these critics, "2012" can only be criticized as an ecological disaster. However, the criticism is confined to the category of natural environment, ignoring the possible ecological analysis of spiritual and social homeland consciousness. On the basis of recognizing the current situation, researchers should pay attention to three principles:discriminate the objects of criticism, get out of the narrow sense of ecological criticism thinking, and apply it flexibly in the specific historical context. Only by clarifying these issues can we consolidate the ecological aesthetics theory, thus avoiding its danger of collapse in the practice of ecological film criticism.

收稿日期: 2020-08-15
基金项目:

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