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Cinematic animism and contemporary Southeast Asian artists’ moving-image practices
Screen ( IF 0.3 ) Pub Date : 2022-01-07 , DOI: 10.1093/screen/hjab056 May Adadol Ingawanij
Screen ( IF 0.3 ) Pub Date : 2022-01-07 , DOI: 10.1093/screen/hjab056 May Adadol Ingawanij
The concept of the Capitalocene is, I believe, especially relevant for contextualizing how contemporary Southeast Asian film and artists’ moving-image practices respond, allude or relate to climate and ecological change. As the introduction to this dossier suggests, the Capitalocene draws attention to the relationship between climate change, the long history of the region’s colonization by western powers, and the continuing structural dynamic of coloniality.11 Within this regional context, coloniality signals the structural continuity of regimes and practices of capitalist extraction and necropolitics, thereby connecting the long history of colonization to the aftermath of official national independence. Various post-independence forms of disaster-capitalist regimes in the region are underpinned by political systems of authoritarianism and impunity, whose foundational institutions, mechanisms and ideologies – such as developmentalism, patriarchy, racialization and racial hierarchy – are traceable to the longue durée and legacies of colonization.22 Instead of resorting to the generalizing language of human culpability in the Anthropocene, the conceptual framing of Southeast Asia in the Capitalocene would ask which peoples, other-than-human beings, and resources are acutely vulnerable to the acceleration of environmental degradation and climate disruption caused by powerful institutions and agents of coloniality and disaster capitalism. Importantly, rather than focusing on climate trauma or victimhood, such a framing would pay attention to the agency of peoples and beings whose lives and habitats have been made precarious and increasingly untenable. Of central concern would be the agency of powerless people in imagining and enacting the possibility of living, relating and future-orientating within existentially threatened worlds.
中文翻译:
电影万物有灵论与当代东南亚艺术家的影像实践
我相信,资本新世的概念与将当代东南亚电影和艺术家的动态影像实践如何回应、暗示或关联到气候和生态变化的语境特别相关。正如该档案的介绍所表明的那样,资本新世提请注意气候变化、该地区被西方列强殖民的悠久历史以及殖民主义的持续结构动态之间的关系。1 1在这一区域背景下,殖民性标志着资本主义榨取和墓地政治的政权和做法的结构连续性,从而将长期的殖民历史与官方民族独立的后果联系起来。该地区各种独立后形式的灾难资本主义政权以威权主义和有罪不罚的政治制度为基础,其基本制度、机制和意识形态——如发展主义、父权制、种族化和种族等级制度——可以追溯到长期和遗产殖民化.2 2与其诉诸人类世人类罪责的笼统语言,资本世东南亚的概念框架将询问除了人类之外的哪些民族和资源极易受到环境退化和气候破坏加速的影响。由强大的机构和殖民主义和灾难资本主义的代理人。重要的是,这样的框架不会关注气候创伤或受害者,而是关注那些生活和栖息地变得岌岌可危且越来越站不住脚的人民和生物的能动性。核心关注点将是无权的人在想象和制定在存在威胁的世界中生活、联系和面向未来的可能性方面的代理。
更新日期:2022-01-22
中文翻译:
电影万物有灵论与当代东南亚艺术家的影像实践
我相信,资本新世的概念与将当代东南亚电影和艺术家的动态影像实践如何回应、暗示或关联到气候和生态变化的语境特别相关。正如该档案的介绍所表明的那样,资本新世提请注意气候变化、该地区被西方列强殖民的悠久历史以及殖民主义的持续结构动态之间的关系。1 1在这一区域背景下,殖民性标志着资本主义榨取和墓地政治的政权和做法的结构连续性,从而将长期的殖民历史与官方民族独立的后果联系起来。该地区各种独立后形式的灾难资本主义政权以威权主义和有罪不罚的政治制度为基础,其基本制度、机制和意识形态——如发展主义、父权制、种族化和种族等级制度——可以追溯到长期和遗产殖民化.2 2与其诉诸人类世人类罪责的笼统语言,资本世东南亚的概念框架将询问除了人类之外的哪些民族和资源极易受到环境退化和气候破坏加速的影响。由强大的机构和殖民主义和灾难资本主义的代理人。重要的是,这样的框架不会关注气候创伤或受害者,而是关注那些生活和栖息地变得岌岌可危且越来越站不住脚的人民和生物的能动性。核心关注点将是无权的人在想象和制定在存在威胁的世界中生活、联系和面向未来的可能性方面的代理。