摘要
近年来,我的影片所关注的尺度已经从全球拓展到星球范围。为探寻这一由非人类参与者扮演重要角色的新视角,我实地考察的焦点也转向了偏远地区,那里脆弱的生态系统正承受着全球资源开采业带来的巨大压力。在本文中,笔者将通过《深度气候》(2013)和《森林法则》(2014)两部影片,阐述如何以影像散文的形式来创作超越其自身意义的景观。在两部影片所展现的影像环境保护主义论述中,自然物质以及物理和气候过程不再作为叙述社会事件的戏剧化背景——这些从幕后走到台前的主角,承载着人与地球之间脆弱、复杂、诗意而又极度实体化的关系。
In recent years, my videos have performed a shift from a global to a planetary scale. In pursuit of this new perspective where nonhuman actors begin to play an important role, my fieldwork has taken me to remote territories where fragile ecosystems have come under great pressure from the global resource extraction industry. In this article, I elucidate the two video works, Deep Weather [2013] and Forest Law [2014], to demonstrate how I use the video essay to create landscapes that are imbued with meaning beyond themselves. In the cinematic environmentalism these videos present and matter, physical and climatic processes no longer provide a dramatic backdrop for the narration of social events; they have moved to the fore to play the leading role, forming a world in which the human-Earth relationship is fragile, complicated, poetic, and intensely physical.
出处
《景观设计学（中英文）》
CSCD
2018年第1期148-157,共10页
Landscape Architecture Frontiers
关键词
影片
当代叙事手法
资源开采
气候变化
部落社会
生态危机
Video
Contemporary Narratives
Resource Extraction
Climate Change
Indigenous Communities
Ecological Crisis
