At the beginning of Cary Joji Fukunaga’s 2009 film Sin Nombre, which tells the story of a group of Hondurans attempting to cross into the United States via Mexico by riding aboard a fictional version of the freight train known as ‘La Bestia’ or ‘El tren de la muerte,’ we encounter a scene of im/mobility. In the film’s first shot, we see a path in an autumn-coloured forest leading away from the camera until it disappears on the brightly lit horizon, with the camera slowly tracking forward as if following the path. In the second shot, we see a young man sitting motionless on a chair in a small and dark room, staring towards the camera, which slowly moves towards him. In the third shot, we see the path again, establishing it as the object of the young man’s gaze, before the spatial relations are clarified in the fourth shot, which shows him from behind, staring at what reveals itself to be a poster in the adjoining room, now framed by the thick stone wal...
]]>本文通过分析《流浪地球》电影中三个层面的流动:从地表到地下、地表之上、行星本身,指出流动和不可流动总是相伴而生,一个群体、一个阶段或一个层面的流动总是伴随着另一个群体、阶段或层面的不可流动。导致这种区别的是“我们”和“他者”的区隔,无论是人与人之间、人与其他生物之间,还是人与行星之间。电影虽然呈现了跨越国族的世界主义,并将行星本身纳入人类族群的迁徙之中,却并未真正实现完全的行星主义转向,而是停留在了通往行星主义的中途。本文关注生物、资源及能量在不同层面上以不同形式所作的流动,指出其背后暗含的“交通的审美”及技术乐观主义,也强调了这些流动背后所被忽略的边缘群体、其他物种、乃至地球本身的不可流动性。
世界主义一词可以从多种角度进行理解,但绝大多数阐释都接受一个共同前提:所有人类都可以或者应该归属于同一个社群和集体。虽然不同路径通向的世界主义各不相同,但无论是康德眼中的道德共同体还是马克思和恩格斯眼中的资本市场全球化,是儒家自古以来所倡导的“天下”或是习近平总书记所提出的“人类命运共同体”,世界主义社群中所包含的成员都只有人类。从人类中心主义视角出发的世界主义在当下显然无法提供足够的思想资源以面对行星层面的危机和挑战,行星主义转向不得不被提上议程。在这一部分中,我将从世界主义电影出发,批判世界主义思维框架的不足,继而引入行星主义和地球理论,并拓宽流动的意涵,为后文的分析提供理论基础。
Maria Rov...
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