摘要
《罗小黑战记》攀蟾折桂,堪称中国生态动画云程发轫之作,但从比较电影学视域来看,与“吉卜力”生态动画相比仍有不足:因地理条件有异,工业化进程不同,故生态观也有不同。吉卜力动画始终秉持着反人类中心主义的生态观,而《罗小黑战记》表达的是人类中心主义生态观。受不同的生态观制衡,吉卜力的“动物本体”形象表现了对大自然的敬畏,而《罗小黑战记》的“人化动物”形象,将人类的思想和意图加之于动物;吉卜力以“动物本位”的视角批判和审视人类的行为,《罗小黑战记》从“人类本位”的视角表达的依然是人类的感情倾向和现实社会的诉求;吉卜力以田园式神话空间为主体来关照人与自然的依存关系,《罗小黑战记》则偏向以科幻空间为主体,表现人类征服自然、驱遣自然的盲目自信。
“The Legend of Luo Xiaohei”got some awards,which can be regarded as the germ of Chinese ecological animation.However,from the perspective of comparative cinematology,there are some defects in“The Legend of Luo Xiaohei”compared with Ghibli ecological animation.Different geographical conditions and industrialization processes result into different ecological views.Ghibli animation has been adhering to the ecological view of anti-anthropocentrism,while“The Legend of Luo Xiaohei”expresses anthropocentrism.Limited by different ecological views,Ghibli’s“animal body”image shows the awe of nature,while the“humanized animal”image in“The Legend of Luo Xiaohei”imposes human thoughts and intentions on animals.Ghibli criticizes and examines human behavior from an“animal-oriented”perspective,while“The Legend of Luo Xiaohei”,from a“human-oriented”perspective,still expresses human’s emotional tendencies and realistic social appeals.Ghibli takes the idyllic mythical space as the main body to discuss the interdependence between man and nature,while“The Legend of Luo Xiaohei”is more inclined to take the science fiction space as the main body to show the blind confidence of man in conquering and controlling nature.
作者
杨晓林
YANG Xiaolin(College of Arts&Media,Tongji University,Shanghai 200092,China)
出处
《同济大学学报（社会科学版）》
CSSCI
北大核心
2021年第6期54-61,79,共9页
Journal of Tongji University:Social Science Edition
基金
国家社会科学基金重大项目“新时代中国动画学派的重建与民族文化传播研究”(19ZDA333)。
关键词
比较电影学
生态叙事
《罗小黑战记》
“吉卜力”动画
comparative cinematology
ecological narrative
“The Legend of Luo Xiaohei”
“Ghibli”animation
