Abstract In reading Claire Denis’s L’Intrus, the author enters into a dialogue with two recent publications that consider her cinema in light of contemporary discussions on ecology and economy: Laura McMahon’s work on the ‘ecological impulse’ at play in Denis’s films and Rosalind Galt’s analysis of the way in which Denis’s ‘default cinema’ resists contemporary neoliberal formations. The author examines the complex notions of indebtedness that shaped the film and its production. Moreover, she explores how the idea of nature in L’Intrus appears as a construct in which economic and ecological relationships of debt are mediated through imaginaries of place. Rather than proposing new ecological or economic imaginaries, she argues that L’Intrus is a significant ecological text precisely because it makes legible how debt-ridden imaginaries of nature intrude upon another and affect the experience of places and the policies that regulate them. Furthermore, L’Intrus’s complementary depiction of imaginaries of the South Sea islands and the Northern mountain forest suggests that the imagined relationship to a place that is unknown and far away is dependent upon an imagined relationship to the natural environment that is familiar and close by.

中文翻译：

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克莱尔·丹尼斯（Claire Denis）的《 L'Intrus / The Intruder（2004）》中的债务生态学

摘要在阅读克莱尔·丹尼斯（Claire Denis）的《 L'Intrus》时，作者与最近发表的两份出版物进行了对话，这些出版物根据当代关于生态和经济的讨论来考虑她的电影：劳拉·麦克马洪（Laura McMahon）在丹尼斯电影中扮演的“生态冲动”和罗莎琳德·加尔特（Rosalind Galt）丹尼斯的“默认电影院”抵制当代新自由主义形式的方式的分析。作者研究了影响电影及其制作的复杂负债概念。此外，她还探讨了《 L'Intrus》中自然概念如何作为一种构架出现，其中债务的经济和生态关系通过场所的虚构来调节。与其提出新的生态或经济假想，她认为，《 L'Intrus》是一本重要的生态文字，恰恰是因为它使清晰可见的债务缠身的自然假想如何侵入另一物种并影响场所的体验和规范场所的政策。此外，L'Intrus对南海诸岛和北部山区森林的想象的补充描写表明，与一个未知而遥远的地方的想象关系取决于与熟悉和近处的自然环境的想象关系。