从“他者凝视”到“共情共生”:陆川野生动物影像的视觉政治与伦理研究

从“他者凝视”到“共情共生”:陆川野生动物影像的视觉政治与伦理研究

From "The Gaze of the Other" to "Empathy and Coexistence":A Study onthe Visual Politics and Ethics of Lu Chuan's Wildlife Images

作者: 陈睿姣(兰州文理学院，甘肃兰州730000)

关键词: 陆川;野生动物影像;生态批评;视觉政治;伦理演进  Lu Chuan; Wildlife Images; Ecocriticism; Visual Politics; Ethical Evolution

摘要:陆川导演的野生动物三部曲《可可西里》(2004)、《我们诞生在中国》(2016)、《西野》(2025)，跨越二十年，以迥异的体裁与风格，传递着不同时期的野生动物保护思想。美学风格经历了从纪实美学，到诗意美学，再到科技美学的转变;理念范式经历了人类中心主义、生命共同体、独立个体生命的演进;伦理位置发生了从凝视，到共情共生的迁移。转型的实质，是从人类中心主义的悲情防御，经情感动员的生态启蒙，走向后人类视野下的智慧共生。这一伦理深化的过程，不仅是导演个人艺术观念的演变，更是中国社会生态意识在视觉文化领域逐步深化、细化和复杂化的一个缩影。这些影像不仅记录了中国生态观念现代化转型的轨迹，也为全球化时代的生态影像生产与生态伦理建构提供了独特的中国样本与理论启示。

Abstract:  Director Lu Chuan's wildlife trilogy,"Kekexili"(2004),"Bom in China"(2016), and"Xiye"(2025), spanning two decades, conveys the evolving ideas of wildlife conservation indifferent periods through distinct genres and styles. The aesthetic style has transformed fromdocumentary aesthetics to poetic aesthetics and then to technological aesthetics; the ideologicalparadigm has evolved from anthropocentrism to a community of life and then to the independentlife of individual creatures; the ethical position has shifted from gazing to empathy andcoexistence. The essence of this transformation is a shift from the defensive sentimentality ofanthropocentrism, through emotional mobilization for ecological enlightenment, to a wisecoexistence in a post-human perspective.This deepening of ethics is not only a reflection of thedirector's personal artistic evolution but also a microcosm of the gradual deepening, refinement,and complexity of ecological consciousness in Chinese society within the realm of visual culture.These images not only document the trajectory of the modernization of ecological concepts inChina but also provide a unique Chinese sample and theoretical inspiration for the production ofecological images and the construction of ecological ethics in the era of globalization.

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