This essay explores how the contemporary English filmmaker Andrea Arnold invents a queer ecological aesthetic to adapt Emily Brontë’s classic novel Wuthering Heights in her 2011 film by the same title. A queer ecological aesthetic combines queer, ecofeminist and postcolonial approaches to disavow the institutional and cultural ways in which white heterosexist patriarchy ‘sexualizes’ nature and ‘naturalizes’ heterosexuality. Arnold’s film forges subtle intimacies between nature and sexuality and the human and the non-human by focusing on Catherine and Heathcliff’s ambiguous erotic encounters on the moor. In lieu of a formal plot, dialogue and musical score, Arnold locates Catherine’s and Heathcliff’s desires within a complex mesh of ecological and creaturely narratives. Her film critiques ecophobic and erotophobic discourses in the West by depicting tactile and affective gestures between Catherine and Heathcliff that may be deemed ‘queer ecological’. This is also evident in Heathcliff’s intersectional character as a feral/non-white/non-human child whose presence threatens the white heterosexist patriarchal structures of the Yorkshire gentry. The essay reveals how Arnold revives the subversive impact of the original novel in the Victorian age for a contemporary ecophobic and erotophobic audience.

中文翻译：

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呼啸山庄的酷儿生态美学

这篇文章探讨了当代英国电影制作人安德里亚·阿诺德 (Andrea Arnold) 如何发明一种奇怪的生态美学来改编艾米莉·勃朗特 (Emily Brontë) 2011 年同名电影中的经典小说《呼啸山庄》。酷儿生态美学结合酷儿、生态女性主义和后殖民主义方法，否定白人异性恋父权制“性化”自然和“自然化”异性恋的制度和文化方式。阿诺德的电影通过关注凯瑟琳和希斯克利夫在荒野上的暧昧情色遭遇，在自然与性欲以及人类与非人类之间建立了微妙的亲密关系。代替正式的情节、对话和乐谱，阿诺德将凯瑟琳和希斯克利夫的欲望置于生态和生物叙事的复杂网络中。她的电影通过描绘凯瑟琳和希思克利夫之间可能被视为“酷儿生态”的触觉和情感姿态来批评西方的生态恐惧症和色情恐惧症话语。这在希斯克利夫作为野性/非白人/非人类儿童的交叉性格中也很明显，他的存在威胁着约克郡绅士的白人异性恋父权结构。这篇文章揭示了阿诺德如何重振维多利亚时代原著小说对当代生态恐惧症和色情恐惧症观众的颠覆性影响。