从灾难片谈新世纪“美国电影技术悖论”现象——以《后天》和《2012》为例

进入新世纪以来，技术至上的美国电影愈加热衷于借助日新月异的科学技术来刺激观影者，但其电影叙事、主题关注、人物塑造等方面却呈现出由传统的技术崇拜向反技术崇拜的价值观转移。作为美国电影主要类型之一，灾难片在新世纪见证了“美国电影技术悖论”现象的发轫和粉墨登场。以《后天》和《2012》为例来审视电影“反技术”叙事，从技术地位在电影文本内外的嬗变、电影文本技术“能指”符号以及电影场面调度来揭橥美国灾难片中所蕴含的技术价值观，进一步对“美国电影技术悖论”现象加以界说和阐释。

Phenomenon of Technological Paradox of American Films Based on Disaster Films:Taking The Day After Tomorrow and 2012 as Example

Since the world entering in the new century, the technology-oriented American films have been overenthusiastic about applying the latest technology to create a greatly visual tension so as to stimulate the audience while the films＇ nar- rative, theme and characterization have gradually and correspondingly transferred from the traditional values of technology adoration to that of anti-technology. Being the constant method of American films, technology is confronted with the total- ly opposite attitudes in the new century, which is the new trend regarding the relationship between the content and the form in American films. As one of the most important American film patterns, disaster films witnessed the initiation as well as the development of the phenomenon of technological paradox of American films. Taking The Day After Tomorrow and 2012 as example, the very phenomenon is expounded by analyzing the anti-technological narrative and identifying A- merican technological values implied underneath disaster films through exploring the evolution of the technical position, signifier symbols concerning technology and mise-en-scence in these two films.