Summary In 1988 J.M. Coetzee published White Writing: On the Culture of Letters in South Africa, formulating landscape as inherently entangled with problematic notions of white identity and belonging. Coetzee posits that white descendants of the Dutch and English colonists failed to find an appropriate “language” to represent the country’s landscape because they failed to establish an African identity. This crisis seems topical again with debates around land expropriation in the media, as well as #FeesMustFall considering questions of race and belonging. How is this reflected in contemporary landscape representation? By investigating the depiction of Johannesburg in the film District 9 (Blomkamp 2009), I aim to consider how landscape is seen as a contradictory nostalgic dystopia, reflecting the complexity of whiteness in relation to place in South Africa. The land itself bears the dystopian scars of the colonial mining industry, the geographic segregation of the apartheid regime, and the decay following the aftermath of so-called “white flight” in the inner city. At the same time, it is nostalgically depicted as the urban landscape of the 1980s, which for white people offered an illusory utopian lifestyle. Johannesburg in District 9 is thus a projection of white anxiety around land, hearkening back to Coetzee’s notion of disconnection between white South Africans and the landscapes of the country, and which seems to inspire an ironic nostalgia for a fictional past.

中文翻译：

---

怀旧的反乌托邦：约翰内斯堡是白人写作之后的风景

总结 1988 年，JM Coetzee 出版了《白人写作：论南非的文学文化》，将景观表述为与白人身份和归属感的问题概念固有的纠缠。Coetzee 假设荷兰和英国殖民者的白人后裔未能找到一种合适的“语言”来代表该国的景观，因为他们未能建立非洲身份。这场危机似乎再次成为话题，媒体围绕土地征用的辩论，以及#FeesMustFall 考虑到种族和归属问题。这如何反映在当代景观表现中？通过调查电影第 9 区（Blomkamp 2009）中对约翰内斯堡的描述，我旨在考虑景观如何被视为一种矛盾的怀旧反乌托邦，反映了白人在南非的位置的复杂性。土地本身带有殖民采矿业的反乌托邦伤痕、种族隔离制度的地理隔离以及内城所谓的“白人逃亡”后的衰败。同时，它被怀旧地描绘成1980年代的城市景观，为白人提供了一种虚幻的乌托邦生活方式。因此，第 9 区的约翰内斯堡是对土地周围白人焦虑的投射，让人回想起库切关于南非白人与该国风景脱节的观点，这似乎激发了对虚构过去的讽刺怀旧之情。以及在内城所谓的“白色飞行”之后的衰败。同时，它被怀旧地描绘成1980年代的城市景观，为白人提供了一种虚幻的乌托邦生活方式。因此，第 9 区的约翰内斯堡是对土地周围白人焦虑的投射，让人回想起库切关于南非白人与该国风景脱节的观点，这似乎激发了对虚构过去的讽刺怀旧之情。以及在内城所谓的“白色飞行”之后的衰败。同时，它被怀旧地描绘成1980年代的城市景观，为白人提供了一种虚幻的乌托邦生活方式。因此，第 9 区的约翰内斯堡是对土地周围白人焦虑的投射，让人回想起库切关于南非白人与该国风景脱节的观点，这似乎激发了对虚构过去的讽刺怀旧之情。