《被占领》中挪威生态例外论的景观

IF 2 Q2 COMMUNICATION
A. Mrozewicz
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引用次数: 4

摘要

本文研究了挪威气候小说电视连续剧Okkupert[占领](2015 -),重点关注它揭示北欧主题在生态反乌托邦中的共谋方式。我认为,在阐明这种共谋时,该系列重新想象了根植于挪威与自然的例外主义关系的话语中的挪威民族自我概念。我展示了挪威的绿色(自我)形象是如何通过我所谓的“白色生态”来表达的——这是一种白色的美学,体现在与北方广泛相关的新浪漫主义的冬季山区景观中,也体现在挪威白人男性极地探险家的形象中。我在这篇文章中认为,“占领”通过“黑暗生态”(Morton, 2007)挑战了这种白人生态男性话语,这种“黑暗生态”体现在俄罗斯,并通过避免壮观的景观美学以及通过电视长篇叙事和生态黑色美学媒介促进的“纠缠”策略来表达。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Landscapes of Eco-NoirReimagining Norwegian eco-exceptionalism in Occupied
Abstract This article examines the Norwegian climate fiction television series Okkupert [Occupied] (2015–), focusing on the ways in which it reveals the complicity of Nordic subjects in an ecological dystopia. I argue that in illuminating this complicity, the series reimagines the Norwegian national self-conception rooted in a discourse of Norway's exceptionalist relation to nature. I show how Norway's green (self-)image is expressed through what I call “white ecology” – an aesthetics of whiteness encoded in neoromantic mountainous winter landscapes widely associated with the North, but also in the figure of the Norwegian white male polar explorer. I argue in this article that Occupied challenges this white-ecological masculine discourse through “dark ecology” (Morton, 2007), embodied by Russia and expressed by the avoidance of spectacular landscape aesthetics as well as by the strategy of “enmeshment”, facilitated by the medium of televisual long-form storytelling and the eco-noir aesthetics.
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来源期刊
Nordicom Review
Nordicom Review COMMUNICATION-
CiteScore
2.80
自引率
9.10%
发文量
10
审稿时长
52 weeks
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