自然的怪物:环境伦理在电影中的表现

Seyedreza Fateminasab
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引用次数: 0

摘要

本文提出了一个问题:如何理解电影中所表现的各种环境伦理?它认为,这可以通过通过环境伦理领域的各种中心主题的镜头来分析电影来完成。本研究通过比较案例研究的方法论证了这一观点。这两起案件分别是1984年由宫崎骏执导的动画电影《风之谷》和2019年由克里斯·巴特勒执导的动画电影《失踪的环节》。这两部电影的故事都围绕着人类和被认为是怪物的非人类物种之间的关系展开。缺失的环节代表了一种以人类为中心的环境伦理,一种只将工具价值应用于自然,因为它服务于人类并与人类有关。相反,《娜乌西卡》代表了非人类中心主义的环境伦理,挑战了以人类为中心的自然观念,倡导承认自然的内在价值。本研究认为,尽管非人类中心主义的环境伦理在世界电影中的表现并非闻所未闻,但当今主流商业电影工业将人类中心主义的环境伦理表现为进步的,并将其标记为进步的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Monsters of Nature: Representation of Environmental Ethics in Cinema
This article asks the question: how can one understand the kinds of environmental ethics represented in film? It argues that this can be done by analyzing films through the lens of various central themes in the field of environmental ethics. This study demonstrates this argument through a comparative case study approach. The two cases are Nausicaa of the Valley of the Wind, a 1984 animated film directed by Hayao Miyazaki, and Missing Link, a 2019 animated film directed by Chris Butler. The stories of both films center on the relationship between humans and non-human species that are considered monsters. Missing Link represents an anthropocentric (human-centered) environmental ethics, one that only applies instrumental value to nature as it serves and relates to human beings. Conversely, Nausicaa represents non-anthropocentric environmental ethics that challenges the common human-centered perception of nature and advocates for the recognition of its intrinsic value. This study argues that even though the representation of non-anthropocentric environmental ethics in world cinema is not unheard of, the mainstream commercial film industry today represents and labels anthropocentric environmental ethics as progressive.
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