WILDLIFE FILMS

Book ID/图书代码： 13567913B66126

English Summary/英文概要： "Quite brilliant. . . . This fascinating book will interest all audiences."--Choice If, as many argue, movies and television have become Western culture’s premier storytelling media, so too have they become, for most members of society, the primary source of encounters with the natural world--particularly wild animals. The television fare offered nightly by national and cable networks such as PBS and the Discovery Channel provides millions of viewers with their only experience of the wilderness and its inhabitants. The very films that so many viewers take as accurate portrayals of wildlife, however, have evolved primarily as a form of entertainment, following the established codes and conventions of narrative exposition. The result has been not the representation of nature, but its wholesale reconstruction and reconfiguration according to film and television conventions, audience expectations, and the demands of competition in the media marketplace. Wildlife Films traces the genealogy of the nature film, from its origins as the "animal locomotion" studies that mark the very beginnings of motion pictures themselves, to the founding of the Animal Planet cable channel that boasts "all animals, all the time." The narrative and thematic elements that unite wildlife films as a genre have their roots not in the documentary film tradition, but in the older traditions of oral and written animal fables as reflections of human society. Bousé contends that classic wildlife films often portray animal protagonists living in families modeled on an ideal of the human nuclear family and working in communities that resemble an ideal of bucolic human society. In these stories--presented as documentaries--animals are motivated by human emotions and conduct relationships according to human customs. This imposition of culturally satisfying narrative patterns upon the lives of animals has not only led to the misrepresentation of the natural world; it has promoted the notion that our values, our moral vision, our models of society and family structure derive from nature, rather than being cultural formations. Derek Bousé received his doctorate from the Annenberg School for Communication, University of Pennsylvania, and is currently a filmmaker residing in Austria.

Chinese Summary/中文概要： 电影和电视已经成为西方文化中主要的传播媒介，对于社会中的大多数人来讲，这些媒介亦是人们接触自然，尤其是野生动物的唯一途径。通过美国公共电视网以及探索频道，数百万观众了解了大自然及其居民。观众总以为自己所看到的就是自然界的真实写照，实际上这类节目都加进了某种固定的模式和陈述的规则，使之变成娱乐大众的电影。根据电视电影的规律，观众的审美期望以及市场媒体的竞争形成的这种零售式的模式重组扭曲了大自然的真实面目。《野生动物电影》追溯了自然电影的发展历程，其起源是为了研究动物行为，到后来成立了“动物星球”频道。野生动物电影中的叙事和主题元素形成了传统，其中一些口口相传的动物寓言映射了人类社会，但野生电影并没有因此在纪实电影中有了一席之地。博兹在书中谈到野生动物电影总是将动物主角设定成人类社会中核心家庭的成员，在某一个社区居住并工作。虽然这些故事以纪实片的模式呈现，但动物的行动和关系都被人类情感和社会习惯操纵。这种不合适的文化植入不仅给观众呈现了一个失真的自然界，同时也会使人们形成这样的观念：我们的价值观，道德观，社会模式和家庭结构是植根于自然的，而不是形成于文化的。（XAT）

Awards/获奖情况：“简直太棒了...这本有趣的书会吸引所有人。”——《选择》

"Quite brilliant... This fascinating book will interest all audiences."-Choice

About the Author/作者介绍： 德瑞克•博兹拥有宾夕法尼亚大学安嫩伯格通信学院的博士学位，现居于澳大利亚担任电影制片人。

Derek Bouse received his doctorate from the Annenberg School for Communication, University of Pennsylvania, and is currently a filmmaker residing in Austria.

Format:照片

Rights Status/版权销售情况：Simplified Chinese/简体中文：AVAILABLE

Complex/Traditional Chinese/繁体中文：AVAILABLE

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