超物体、“破损之锤”与美学——迈向暗黑生态学的气候电影

Cli-fi Film Toward Dark Ecology:Hyperobjects,“Broken tool”,and Aesthetics

用人类中心主义、生态中心主义等批评方式来研究人类世艺术的气候电影并不能完全把握气候变化这一危机叙事,需要拓展研究方域。暗黑生态学等学说可以用来观察气候电影中被称为“超物体”的气候变化,也可以用来探究银幕上“超物体”在物理气候系统、生态系统和社会系统的因果关系,并将气候电影进行重新分类和美学意义探索。暗黑生态学视角中的气候电影有时也可以被看成一种“邪恶媒介”,因其提供了一个不甚乐观的境遇,来提醒人们关注当下的环境危机。

Critical methods such as anthropocentrism and ecocentrism are unable to completely grasp the crisis narrative of climate change and,as a result,need to widen their field of study.Climate film in the Anthropocene arts is one example of this.To observe climate change as a“Hyperobjects”,to investigate the causal relationship between the“Hyperobjects”on screen and the physical climate system,ecosystem,and social system,and to reclassify and investigate the aesthetic meaning of climate cinema,one can use theories such as dark ecology.The cinematic representation of climate change that takes a gloomy ecology point of view offers an unfavorably pessimistic reflection of the environmental situation that we are currently facing.