The first use of the term ‘ecocinema’ may be traced back to Roger C. Anderson’s ‘Ecocinema: A Plan for Preserving Nature’ when he proposes to film all living organisms in the world and show them in theatres with simulated conditions that resemble natural environments, as a way of preserving nature (Anderson, BioScience, 25 (7), 1975, first published in 1966). Anderson’s proposal was more of a sarcastic criticism towards modern people’s growing detachment with the physical world, but it suggests the possibility of connecting the study of ecology or the environment with cinematic texts. Decades before ecocinema studies attracted its current degree of attention; we saw the usages and theorizations of closely related concepts of ecology, environment and ecocriticism. According to Raymond Williams, ecology refers to ‘the study of the relations of plants and animals with each other and with their habitat’. Environmentalism, on the other hand, was ‘the commonest word for such concern with the human and natural habitat’ (Raymond Williams,

中文翻译：

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生态电影

“生态电影”一词的首次使用可以追溯到罗杰·C·安德森（Roger C. Anderson）的“生态电影：自然保护计划”，当时他提议拍摄世界上所有的生物，并在具有类似于自然环境的模拟条件下的剧院中将其展示作为保护自然的一种方式（Anderson，BioScience，25（7），1975年，于1966年首次出版）。安德森的提议更多地是对现代人与自然世界日益分离的讽刺批评，但它暗示了将生态学或环境研究与电影文本联系起来的可能性。生态电影研究之前的几十年引起了它的当前关注；我们看到了与生态，环境和生态批评密切相关的概念的用法和理论化。根据雷蒙德·威廉姆斯（Raymond Williams）的说法，生态学指的是“研究动植物相互之间及其与生境的关系”。另一方面，环保主义是“对人类和自然栖息地的这种关注的最常用词”（雷蒙德·威廉姆斯，