Immortality, the Good Life and Romantic Love in Groundhog Day and Only Lovers Left Alive

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Rick Zinman
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引用次数: 0

Abstract

Groundhog Day (Harold Ramis, 1993) and Only Lovers Left Alive (Jim Jarmusch, 2013) are fantasy films that use the device of practical immortality in order to raise important philosophical questions about what constitutes a good life and to explore the nature of romantic love. Groundhog Day provides fairly conventional answers about how to live a good life by focusing on issues of spiritual redemption, selflessness, and developing one’s human potential. In contrast, Lovers provides a dark portrayal of a civilization on the brink of extinction but offers a glimmer of hope for the future. The lifestyle and values of married vampires Adam and Eve represent an alternative vision of the core values needed to sustain a better world: greater reliance on human imagination, maintaining a sense of wonder and curiosity about the world, creating and appreciating works of art and living in harmony with the natural world. Both films also offer a perspective on the importance of romantic love in living a good life. Although these perspectives often diverge from one another, they do overlap in some interesting ways. The style of film criticism used in this paper is inspired by the film philosophy of Stanley Cavell.
《土拨鼠之日》中的不朽、美好生活和浪漫爱情
《土拨鼠日》(Harold Ramis,1993)和《只有活着的情人》(Jim Jarmusch,2013)是一部奇幻电影,它们使用了实用的永生手段,以提出关于什么构成美好生活的重要哲学问题,并探索浪漫爱情的本质。土拨鼠日通过关注精神救赎、无私和开发人类潜力等问题,为如何过上美好生活提供了相当传统的答案。相比之下,《情人》描绘了一个濒临灭绝的文明的黑暗写照,但也为未来带来了一线希望。已婚吸血鬼亚当和夏娃的生活方式和价值观代表了维持一个更美好世界所需的核心价值观的另一种愿景:更加依赖人类的想象力,对世界保持好奇和好奇,创作和欣赏艺术作品,与自然世界和谐相处。这两部电影也都从一个角度阐述了浪漫爱情在美好生活中的重要性。尽管这些观点经常相互偏离,但它们确实以一些有趣的方式重叠。本文采用的电影批评风格受到了斯坦利·卡维尔电影哲学的启发。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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