The The rhetoric of ecology in the post-apocalyptic cinematic landscape

Autor

  • Evdokia Stefanopoulou ARISTOTLE UNIVERSITY OF THESSALONIKI

DOI:

https://doi.org/10.29107/rr2021.2.3

Słowa kluczowe:

filmy postapokaliptyczne, krajobraz filmowy, retoryczna środowiskowość, I Am Legend, Mad Max: Fury Road

Abstrakt

Współczesne filmy postapokaliptyczne przedstawiają ludzkość na krawędzi wymarcia i świat zdewastowany przez katastrofy ekologiczne. Takie filmy odzwierciedlają naglące dyskursy antropocenu, jednocześnie oferując przykłady postantropocentrycznej perspektywy i nowych form podmiotowych, do których ta perspektywa prowadzi. Niniejszy tekst dowodzi, że podstawowym środkiem retorycznym generującym w takich filmach perspektywę ekokrytyczną jest krajobraz postapokaliptyczny. Pokazana w kinie przestrzeń kształtuje znaczenie wszystkich filmów, a w szczególności tych, w których sceneria zostaje przekształcona w krajobraz (Lefebvre 2006). Co więcej, w filmach postapokaliptycznych krajobraz staje się głównym miejscem „retorycznego środowiska” filmów (McMurry 2017). Artykuł analizuje postapokaliptyczny krajobraz w I Am Legend (2007) i Mad Max: Fury Road (2015) oraz splątaną relację między ludźmi a rozpadającym się światem, który ich otacza. Posługując się teorią posthumanistyczną Rosi Braidotti (2013), autorka argumentuje, że omawiane w artykule filmowe krajobrazy nawiązują do „eko-filozofii wielorakich przynależności” (Braidotti 2013, 49) i niosą ze sobą „proces redefiniowania poczucia przywiązania i połączenia ze wspólnym światem” (Braidotti 2013, 2019). Ostatecznie dochodzi do wniosku, że afektywny urok tych krajobrazów skłania widza do przyjęcia perspektywy postantropocentrycznej, pobudzając w ten sposób nowe wymiary świadomości dotyczącej środowiska.

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Opublikowane

2021-06-30

Jak cytować

Stefanopoulou, Evdokia. 2021. „The The Rhetoric of Ecology in the Post-Apocalyptic Cinematic Landscape”. "Res Rhetorica" 8 (2):38-54. https://doi.org/10.29107/rr2021.2.3.