ABSTRACT

This article examines eco-documentaries that employ the ethics of the face to engage with the notion of a universal human right to a healthy environment. Climate Refugees (Nash, dir 2010 Nash, Michael P., dir. 2010. Climate Refugees. United States: LA Think Tank and Preferred Content. [Google Scholar]) and I Bought a Rainforest (Searle and Woodward, dir 2014 Searle, Gavin, and Aidan Woodward, dir. 2014. I Bought a Rainforest. United Kingdom: BBC. [Google Scholar]) use close-ups of the human face to bear witness to environmental damage. They each emphasise a shared human right to resources and a safe environment, but in the process often enact colonial discourses that I Bought a Rainforest begins to critique. Terra (Arthus-Bertrand and Pitiot, dir 2015 Arthus-Bertrand, Yann, and Michael Pitiot, dir. 2015. Terra. France: Hope Productions and CALT Productions. [Google Scholar]) uses the nonhuman animal face to emphasise an equivalency between human and nonhuman animals in their shared environmental vulnerabilities. Hija de la Laguna (Daughter of the Lake, Cabellos, dir 2015 Cabellos, Ernest dir. 2015. Hija de la Laguna (Daughter of the Lake). Peru: Guarango Cine y Video. [Google Scholar]) initially withholds the face to depict the personhood of the environment itself from an Indigenous perspective. These different approaches to the face highlight anthropocentric tensions in the environmental human rights approach to ecological ethics.

摘要

本文审视了生态纪录片，这些纪录片利用面部伦理来表达对健康环境的普遍人权的概念。气候难民(Nash, dir 2010 纳什，Michael P.，导演。 2010 年。气候难民。美国：LA Think Tank and Preferred Content。 [谷歌学术搜索] ) andI Bought a Rainforest(Searle and Woodward, dir2014 Searle、Gavin和Aidan Woodward，导演。2014 年。我买了雨林。英国：英国广播公司。 [Google Scholar] ) 使用人脸特写来见证环境破坏。他们每个人都强调对资源和安全环境的共同人权，但在这个过程中经常制定殖民话语，我买了雨林开始批评。Terra（Arthus-Bertrand 和 Pitiot，dir2015 Arthus-Bertrand、Yann和Michael Pitiot，导演。2015 年。泰拉。法国：Hope Productions 和 CALT Productions。 [谷歌学术搜索] ) 使用非人类动物的脸来强调人类和非人类动物在共同的环境脆弱性方面的等同性。Hija de la Laguna（湖的女儿，Cabellos，2015 年 Cabellos，欧内斯特导演。 2015 年。Hija de la Laguna（湖的女儿）。秘鲁：Guarango Cine y Video。 [Google Scholar] ) 最初保留面部是为了从原住民的角度描绘环境本身的人格。这些不同的面部处理方法突出了生态伦理的环境人权方法中以人类为中心的紧张关系。