在《后天:德勒兹的运动形象和乔治·w·布什时代否认全球变暖》中被大自然的愤怒所陶醉

Brent Yergensen
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摘要

在乔治·w·布什(George W. Bush)担任总统期间,全球变暖受到质疑,并被置于次要地位,2004年的电影《后天》(the Day After Tomorrow)作为一种反动的、发自内心的电影话语,为解决人类对全球变暖的影响而做出的环保努力注入了活力。影片采用吉尔·德勒兹的三部分运动图像作为分析方法,以熟悉的场景,如洛杉矶和纽约作为感知图像进行分析。在这些场景中,自然的愤怒和暴力伴随着科学家们得到了自然的宽恕,因为他们能够毫发无损地进入自然灾害并穿过自然灾害。最后,这些情感图片展示了人类在面对全球变暖引起的自然灾害时令人恐惧的狂喜的面部表情。在否认全球变暖的背景下,影片为人类留下了一个黯淡的结局,同时,它采用了二十一世纪初的生态神学话语来支持全球变暖的预测,这表明了全球变暖修辞在视觉展示中的神学转变的增长。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Enraptured by nature’s fury in The Day After Tomorrow: Deleuze’s movement-image and the George W. Bush era of global warming denial
As global warming was questioned and de-prioritized during the George W. Bush presidency, the 2004 film The Day After Tomorrow functioned as a reactionary and visceral cinematic discourse, enlivening environmental efforts to address humanity’s influence on global warming. Demonstrated through analysis using Gilles Deleuze’s three-part movement-images as an analytic approach, the film uses familiar settings such as Los Angeles and New York City as perception-images. The action-image demonstrations of nature’s wrath and violence in those settings are accompanied with scientists being pardoned by nature and as they are able to walk unscathed into and through natural disasters. Finally, the affection-images display humanity’s terrifyingly enraptured facial expressions when confronting global warming-caused natural disasters. As the film leaves a bleak outcome for humanity under the context of global warming denial, it simultaneously employs an ecotheological discourse in the early twenty-first century to empower global warming prediction, demonstrative of the growth of the theological shift in visual display of global warming rhetoric.
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