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狼图腾 大片 电影 影评 观后感

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发表时间:2021-02-23 13:23

故事讲述的是1967年北京知青阵阵和杨克在上山下乡期间来到了内蒙古额仑大草原插队。在大草原上,他们结识了内蒙古族牧民毕利格一家,他见识到了草原上最令人敬畏的动物:狼。在与狠群的接触过程中,阵阵对这一物种有了强烈的兴趣,甚至有了自己想养一头小狼的念头。但就是此时,一群外来人贪婪地掠夺了狼群贮存过冬的黄羊,打破了狼群与牧民之间的生态平衡。而以场部主任包顺贵为首的生产队员更是发起了一场灭狼运动,让狼群与人类之间的关系陷入到了剑拔弩张的地步。


看完电影,感慨良多。法国大导演让·雅克·阿诺不愧是“世界上最会拍动物”的导演,他完全脱离了小说《狼图腾》的固有框架的束缚,精心编织故事情节,使这部影片更加丰满,更具现实意义。


有价值的作品往往是关注人的生存和命运的,但伟大的作品则往往是贯注了人的生命燃烧,情感表达,是关注人类与自然界的和谐共存的。这也是中国道家哲学的最高境界:齐物我,泯主客,一生死。它体现人类的**悲悯和人文关怀,有着超越意识形态的普世价值。《狼图腾》在某种意义上就具有这样的特质。


在荒野生态哲学的视界之内,人、动物、自然界都是上帝的子民,他们生而平等。这让我想到了一个词:尊严!在我们的大多“官方意识”(这是深具批判意义的文学理论家巴赫金提出的重要理论)的叙事中,小人物的尊严往往被忽略。而在这里,我要强调的是,这个尊严不单是人的,同样也是动物们的。动物可否谈尊严?大自然是否有尊严?在主客对立的二元世界,在人类中心主义的逻辑思维中,肯定不存在这一疑问,但在荒野哲学的视界内,包括动物、植物、大自然均有尊严。正因为如此,我们才要去尊重它、呵护它、爱惜它,相互共生,和平共处。


我认为《狼图腾》的电影改编是成功的,它超越了小说的某种局限,特别是它突破了小说对狼性的的极度张扬和崇拜。他在缅怀早期人类的图腾(自由、独立、顽强、勇敢的精神,永不屈服、决不投降的性格、意志和尊严)的同时,着眼于人类精神家园的命题,把人类的生存与狼的生存并置于生态大草原的背景之下,着力表现人类自以为是的傲慢与偏见,为所欲为的强权与霸道,自私与冷漠。影片具有强烈的批判现实主义和反思意义,具有强烈的悲悯情怀。特别是在现代工业化和经济全球化的大背景之下,生态问题已然成为全球性问题,环境破坏和污染已经成为地球这个“村落”里人人感同身受而又无法回避的生存危机问题。我特别感动于让·雅克·阿诺,他是一位深具人类情怀的导演,他有着世界**艺术家的艺术水准和人文情怀,因此,他的镜头下,就不会像中国导演那样,只会夸张地展示狼性,只会把狼性作为卖点进行肆意渲染,进行娱乐化、商业化放大,从而使人类意识与自然意识完全被遮蔽,张扬狼性成了这部电影的价值卖点,那就会使这部本来有意义的作品流于平庸,且会误导观众。


生态文学古已有之,回溯中国几千年的文学书写就会发现,对自然环境、对生态的书写不但在诗词歌赋之中均有佳作,但那时的生态文学,是建构于农耕文明的基础之上,大多是歌咏赞美寄怀之作,而现代意义上的生态文学,或者说文学中对生态环境的观照和书写,是现代工业化迅猛发展之后,人类对自身生存危机体认和反思的结果。在他们的作品中,一反传统文学中“自然”被借用的状态(要么是文人骚客抒情言志、感时伤怀的工具,要么是咏史怀古、气氛渲染的“用物”),而是确立了自然生态的主体性地位,以自然生态的“在场”,去展示工业化之后,人类中心主义和工具理性时代,技术“座架”一切,人与自然生态的尖锐对立所导致的人类深刻的生态危机,从而呼唤生态伦理

英语翻译:

The story tells that in 1967, the Beijing educated youth formation and Yang Ke came to the Elun Prairie in Inner Mongolia to jump in during their trip to the countryside. On the prairie, they met the Bilig family, an Inner Mongolian herder, and he saw the most awesome animal on the prairie: the wolf. In the process of contact with Ruthless Group, Jade Group became very interested in this species, and even had the idea of raising a little wolf. But at this time, a group of outsiders greedily plundered the yellow sheep stored by the wolves for the winter, breaking the ecological balance between the wolves and the herdsmen. And the production team headed by the field director Bao Shungui launched a wolf extermination campaign, which brought the relationship between wolves and humans into a tense situation.


After watching the movie, I felt a lot of emotion. The great French director Jean Jacques Arnault deserves to be the director of "the world's most good at shooting animals". He completely broke away from the inherent framework of the novel "Wolf Totem", carefully weaving the plot of the story, making this film more full and more It has practical significance.


Valuable works often focus on human survival and destiny, but great works often focus on the burning of human life, emotional expression, and focus on the harmonious coexistence of humans and nature. This is also the highest state of Chinese Taoist philosophy: equating things with me, the host and the guest, and the death of life. It embodies the greatest compassion and humanistic care of mankind, and has universal values that transcend ideology. "Wolf Totem" has such characteristics in a sense.


Within the vision of wilderness ecological philosophy, humans, animals, and nature are all the people of God, and they are born equal. This reminds me of a word: dignity! In most of our narratives of "official consciousness" (this is an important theory put forward by the critical literary theorist Bakhtin), the dignity of small people is often ignored. Here, I want to emphasize that this dignity is not only for humans, but also for animals. Can animals talk about dignity? Does nature have dignity? In the dual world of subject and object, in the logical thinking of anthropocentrism, there is definitely no such question, but in the vision of wilderness philosophy, it includes animals, plants, and nature. All have dignity. Because of this, we have to respect it, care for it, cherish it, coexist with each other and live in peace.


I think the film adaptation of "Wolf Totem" is a success. It transcends certain limitations of the novel, especially because it breaks through the novel's extreme publicity and worship of wolf nature. While cherishing the memory of the early human totems (freedom, independence, tenacity, brave spirit, never surrendered, never surrendered character, will and dignity), he focused on the proposition of the spiritual homeland of mankind, and compared the survival of mankind with that of wolf. Survive and placed in the background of the ecological prairie, focus on expressing the self-righteous arrogance and prejudice of human beings, the power and hegemony to do whatever they want, selfishness and indifference. The film has a strong sense of critical realism and reflection, and a strong feeling of compassion. Especially under the background of modern industrialization and economic globalization, ecological problems have become global problems, and environmental destruction and pollution have become the ex




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