Abstract The link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question are inspired by the sensibilities of 19th-century Romanticism and explore similar topics, such as the works of Peter Hutton. The problem is essentially twofold: on the one hand, how to break away from the painterly roots and make an exclusively cinematic pictorial representation of landscape and, on the other hand, how to account for the complicit position of the filmmaker with regard to the nature–technology opposition they address. Within the theoretical framework of the recent speculative turn in philosophy and the implications of this with regard to aesthetics, I argue that an object-oriented approach to landscape filmmaking – as seen in the works of Chris Welsby –, by establishing pre-compositional rules within which landscape itself can intervene in the filmmaking process, provides a solution to both the aesthetic and the ethical anxiety that haunt landscape filmmakers.

中文翻译：

---

风景电影中修复的伦理焦虑与思辨美学

摘要 前卫电影和绘画之间的联系一直很明显，但也许从来没有像风景电影那样多。然而，不仅重新利用或唤起特定绘画的用途，而且构建整部电影以对某些风景画传统进行电影类比，这会带来许多问题，尤其是当所讨论的电影受到 19 世纪浪漫主义的情感启发并探索类似的主题，如彼得赫顿的作品。问题本质上是双重的：一方面，如何摆脱绘画的根源，对风景进行专门的电影图像表现，另一方面，如何解释电影制作人在自然方面的同谋地位–他们解决的技术反对意见。