戴着面具的电影:《历史》中万物有灵论的形而上学

IF 0.5 2区艺术学 0 FILM, RADIO, TELEVISION

JCMS-Journal of Cinema and Media Studies Pub Date : 2023-03-01 DOI:10.1353/cj.2023.0029

P. Tang

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引用次数: 0

摘要

摘要:为了应对持续不断的生态危机，最近生态批评转向万物有灵论，颂扬了这种世界观的唯物主义维度，将世界理解为一个由代理实体(人类和非人类)共同形成的关系网络。但是，随着万物有灵论越来越多地扎根于当代的关注和唯物主义，而不是该术语词源背后的本土化和灵魂形而上学，对其政治的批评也出现了。通过分析乔里斯·伊文斯和马塞琳·洛里丹的《风的故事》(1988)，本文论证了万物有灵论是如何不需要世俗化而成为生态政治的。

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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Cinema Wears the Mask: The Metaphysics of Animism in Une histoire de vent

ABSTRACT:In response to ongoing ecological crises, recent turns to animism in ecocriticism have celebrated a materialist dimension of this worldview that understands the world as a relational mesh collectively formed by agential entities, human and nonhuman alike. But as animism increasingly gets grounded in contemporary concerns and materialism rather than indigeneity and the soulful metaphysics behind the term's etymology, critiques of its politics emerge as well. By analyzing Joris Ivens and Marceline Loridan's Une histoire de vent (A Tale of the Wind, 1988), this article demonstrates how animism does not need be secularized in order to be ecopolitical.

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来源期刊

JCMS-Journal of Cinema and Media Studies FILM, RADIO, TELEVISION-

CiteScore

1.20

自引率

0.00%

发文量