第一篇：阿凡達(dá)導(dǎo)演卡梅隆TED演講：失敗是一個(gè)選項(xiàng),畏懼不是

阿凡達(dá)導(dǎo)演卡梅隆TED演講：失敗是一個(gè)選項(xiàng)，畏懼不是

失敗是一個(gè)選項(xiàng)，畏懼不是

——《阿凡達(dá)》導(dǎo)演詹姆斯·卡梅隆在TED的勵(lì)志演講稿

1、科幻的童年

我是看科幻小說(shuō)長(zhǎng)大的。高中時(shí)，我連坐校車(chē)上下學(xué)時(shí)都在讀著科幻小說(shuō)。這些書(shū)將我?guī)У搅硪粋€(gè)世界，滿足了我無(wú)止境的好奇。每當(dāng)我在學(xué)校，我總是在樹(shù)叢中尋找一些“標(biāo)本”——青蛙、蛇、昆蟲(chóng)……我把它們放在顯微鏡下觀察。我總是試圖認(rèn)知這個(gè)世界，想找到它可能的邊界。

我對(duì)科幻小說(shuō)的熱愛(ài)或許是那個(gè)時(shí)代的寫(xiě)照。60年代末期，人類(lèi)登上了月球，去了深海。通過(guò)電視，我們看到了不同的動(dòng)物和地方。這都是我們不曾想象的。這種氛圍中，我不知不覺(jué)地喜歡上了科幻小說(shuō)。每當(dāng)我看完小說(shuō)，故事中的影像就會(huì)在我腦海中不斷放映。或許是因?yàn)閯?chuàng)造力必須找到一個(gè)發(fā)泄方式，我開(kāi)始畫(huà)外星人、機(jī)器人、飛船……我甚至?xí)跀?shù)學(xué)課上在課本的背面畫(huà)畫(huà)。

對(duì)科幻小說(shuō)的不斷接觸讓我想到：外星人不一定生存在外太空，他們很有可能就生活在我們星球上。所以15歲時(shí)，我決定成為一個(gè)潛水員。而當(dāng)時(shí)實(shí)現(xiàn)夢(mèng)想唯一的問(wèn)題是我生活在加拿大的一個(gè)小山村，離最近的海有6英里遠(yuǎn)。但我父親并沒(méi)有讓這成為我夢(mèng)想的障礙，他在邊境對(duì)岸的美國(guó)紐約州布法羅找到了一個(gè)潛水培訓(xùn)班。于是我便在布法羅的一個(gè)泳池里獲得了潛水證書(shū)。直到兩年后，當(dāng)我們?nèi)野岬郊又荩也诺谝淮斡袡C(jī)會(huì)真正地潛水。在這之后的40年里，我在海底大約總共花了3萬(wàn)個(gè)小時(shí)。大海如此豐富多彩，眾多神奇的生物生活其中。比起我們的想象力，自然的想象力完全沒(méi)有邊界。我想，至今我對(duì)大海的了解還是很少，但我對(duì)海洋的好奇卻一直延續(xù)著。

2、電影魔法師與科學(xué)體驗(yàn)

但長(zhǎng)大后，我并沒(méi)有成為一名潛水員，我選擇的職業(yè)是電影。我喜歡講故事，畫(huà)圖畫(huà)，電影看起來(lái)是最合適的工作。當(dāng)然，我講述的故事都是科幻的——終結(jié)者、外星人等等。

我也將我對(duì)潛水的熱愛(ài)和電影融合在了一起。拍攝《深淵》時(shí)，我有了一些有趣的想法。當(dāng)我們要塑造一個(gè)水狀的生物時(shí)，我們使用了“計(jì)算機(jī)生成動(dòng)畫(huà)”——CG。CG的應(yīng)用產(chǎn)生了電影歷史上第一個(gè)軟表面、電腦制成的形象。雖然這部電影使公司差點(diǎn)虧本，但全世界的觀眾被這種新技術(shù)所震撼。根據(jù)亞瑟·克拉克定律——任何高難度的技術(shù)和魔法沒(méi)有什么區(qū)別，很多人覺(jué)得自己看到了一些“神奇”的東西。這使我感到很興奮。我想CG應(yīng)該被用到電影藝術(shù)中去。所以，在我接下來(lái)的電影《終結(jié)者2》中，我把這種技術(shù)又推近了一步，創(chuàng)造了一個(gè)金屬人。我又變了一次魔術(shù)。這部電影很成功，我們賺了一些錢(qián)。

作為一個(gè)電影人，我看到了一個(gè)全新的世界，一個(gè)全新的未來(lái)。于是我和好友斯坦·溫斯頓創(chuàng)立了一家公司，叫做“數(shù)字領(lǐng)域”。公司的概念是要跳過(guò)普通的電影制作直接進(jìn)入數(shù)字電影制作。我們也是這么做的，這也使得我們?cè)谝欢螘r(shí)間內(nèi)有了一定的優(yōu)勢(shì)。但在90年代中期，我發(fā)現(xiàn)我們有些落后了。

我寫(xiě)《阿凡達(dá)》這部電影就是想要推動(dòng)整個(gè)視覺(jué)體驗(yàn)以及動(dòng)畫(huà)效果的進(jìn)步。讓電影人物跳出人們想象的框架，完全用動(dòng)畫(huà)效果詮釋人物表情。但一開(kāi)始，員工告訴我，他們還沒(méi)有能力做到。于是我把《阿凡達(dá)》放在了一邊，轉(zhuǎn)而制作了另一部電影——《泰坦尼克號(hào)》。

在為《泰坦尼克號(hào)》尋找投資商時(shí)，我告訴制作人這是一部關(guān)于愛(ài)情的電影。它的故事就像羅密歐與朱麗葉一樣凄美動(dòng)人。而事實(shí)上，我自己真正想做的是潛入海底探尋真正的泰坦尼克號(hào)。這是我的真心話，電影公司并不知道。我告訴他們，我們要沉入海底，拍攝泰坦尼克號(hào)真實(shí)的畫(huà)面。我們將把這個(gè)片段放在首映式上展現(xiàn)，這將會(huì)引起很大的轟動(dòng)，票房也會(huì)很好。令人意外，電影公司真的同意出錢(qián)，支持我去探索泰坦尼克號(hào)。雖然到現(xiàn)在我仍覺(jué)得有些瘋狂，但這就是“想象創(chuàng)造了現(xiàn)實(shí)”。兩個(gè)月后，我在北大西洋的一艘俄羅斯?jié)撏Ю镉萌庋劭吹秸嬲奶┨鼓峥颂?hào)。

第二篇：Avatar 卡梅隆演講——《阿凡達(dá)》之前的好奇小男孩

I grew up on a steady diet of science fiction.In high school I took a bus to school an hour each way every day.And I always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.And you know that curiosity also manifested itself in the fact that whenever I wasn’t in school I was out in the woods, hiking and taking “samples,” frogs and snakes and bugs and pond water, and bring it back, looking at it under the microscope.You know, I was a real science geek.But it was all about trying to understand the world, understand the limits of possibility.And my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’60s, we were going to the moon, we were exploring the deep oceans.Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined.So, that seemed to resonate with the whole science fiction part of it.And I was an artist.I could draw.I could paint.And I found that because there weren’t video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head.You know, we all did, as kids having to read a book, and through the author’s description put something on the movie screen in our heads.And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff.I was endlessly getting busted in math class doodling behind the textbook.That was, the creativity had to find its outlet somehow.And an interesting thing happened, the Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on earth.I might not really go to an alien world on a spaceship someday.That seemed pretty darn unlikely.But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.So, I decided I was going to become a scuba diver at the age of 15.And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean.But I didn’t let that daunt me.I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live.And I actually got certified in a pool in a YMCA in the dead of winter in Buffalo, New York.And I didn’t see the ocean, a real ocean, for another two years, until we moved to California.Since then, in the intervening 40 years, I’ve spent about 3,000 hours underwater, And 500 hours of that were in submersibles.And I’ve learned that that deep ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination.Nature’s imagination is so boundless compared to our own meager human imagination.I still, to this day, stand in absolute awe of what I see when I make these dives.And my love affair with the ocean is ongoing, and just as strong as it ever was.But, when I chose a career, as an adult, it was film making.And that seemed to be the best way to reconcile this urge I had to tell stories, with my urges to create images.And I was, as a kid, constantly drawing comic books, and so on.So, film making was the way to put pictures and stories together.And that made sense.And of course the stories that I chose to tell were science fiction stories: “Terminator,” “Aliens,” and “The Abyss.” And with “The Abyss,” I was putting together my love of underwater and diving, with film making.So, you know, merging the two passions.Something interesting came out of “The Abyss,” which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG.And this resulted in the first soft-surface character, CG animation that was ever in a movie.And even though the film didn’t make any money, barely broke even, I should say, I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.You know, it’s Arthur Clark’s law that any sufficiently advanced technology is indistinguishable from magic.They were seeing something magical.And so that got me very excited.And I thought, “wow, this is something that needs to be embraced into the cinematic art.” So, with “Terminator2,” which was next film, we took that much farther.Working with ILM, we created the liquid metal dude in that film.The success hung in the balance on whether that effect would work.And it did.And we created magic again.And we had the same result with an audience.Although we did make a little more money on that one.So, drawing a line through those two dots of experience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists.So, I started a company with Stan Winston, my good friend S W, who is the premier make-up and creature designer at that time, and it was called Digital Domain.And the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production.And we actually did that and it gave us a competitive advantage for a while.But we found ourselves lagging in the mid’90s in the creature and character design stuff that we had actually founded the company to do.So, I wrote this piece called “Avatar,” which was meant to absolutely push the envelop of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG.And the main characters would all be in CG.And the world would be in CG.And the envelope pushed back.And I was told by the folks at my company that we weren’t going to be able to do this for a while.So, I shelved it, and I made this other movie about a big ship that sinks.You know, I went and pitched it to the studio as “Romeo and Juliet’ on a ship.” It’s going to be this epic romance, passionate film.Secretly, what I wanted to do was I wanted to dive to the real wreck of “Titanic.” And that’s why I made the move.And that’s the truth.Now, the studio didn’t know that.But I convinced them.I said, “We’re going to dive to the wreck.We’re going to film it for real.We’ll be using it in the opening of the film.It will be really important.It will be a great marketing hook.” And I talked them into funding an expedition.Sounds crazy.But this goes back to that theme about your imagination creating a reality.Because we actually created a reality where six months later I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port, not a movie, not HD, for real.Now, that blew my mind.And it tool a lot of preparation, we had to build cameras and lights and all kinds of things.But, it struck me know much this dive, these deep dives was like a space mission.You know, where it was highly technical, and it required enormous planning.You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can’t get back by yourself.And I thought like, “Wow.I am like living in a science fiction movie.This is really cool.” And so, I really got bitten by the bug of deep ocean exploration.Of course, the curiosity, the science component of it.It was everything.It was adventure.It was curiosity.It was imagination.And it was an experience that Hollywood couldn’t give me.Because, you know, I could imagine a creature and we could create a visual effect for it.But I couldn’t imagine what I was seeing out that window.As we did some of our subsequent expeditions I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.So, I was completely smitten by this, and had to do more.And so, I actually made a kind of curious decision.After the success of “Titanic,” I said, “Okay, I’m going to park my day job as a Hollywood movie maker, and I’m going to be a full time explorer for a while.” And so, we stared planning these expeditions.And we would up going to the Bismark, and exploring it with robotic vehicles.We went back to the Titanic wreck.We took little bots that we had created that spooled a fiber optic.And the idea was to go in and do an interior survey of that ship, which had never been done.Nobody had ever looked inside the wreck.They didn’t have the means to do it, so we created technology to do it.So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew that the band had played.And I’m flying a little robotic vehicle through the corridor of the ship.When I say, I’m operating it, but my mind is in the vehicle.I felt like I was physically present inside the shipwreck of Titanic.And it was the most surreal kind of déjà vu experience I’ve ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie.And the set was based as an exact replica on the blueprints of the ship.So, it was this absolutely remarkable experience.And it really made me realize that the telepresence experience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence.It was really really quite profound.And may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.So, having done these expeditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing amazing animals.They are basically aliens right here on Earth.They live in an environment of chemosynthesis.They don’t survive on sunlight based system the way we do.And so, you’re seeing animals that are living next to a 500 degree Centigrade water plumes.You think they can’t possibly exist.At the same time I was getting very interested in space science as well, again, it’s the science fiction influence, as a kid.And I wound getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems.And this was fascinating.But what I wound up doing was bringing space scientists with us into the deep.And taking them down so that they had access astrobiologists, planetary scientists, people who were interested in these extreme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.So, here we were making documentary films, but actually doing science, and actually doing space science.I’d completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real.And you know, along the way in this journey of discovery, I learned a lot.I learned a lot about science.But I also learned a lot about leadership.Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.I didn’t really learn about leadership until I did these expeditions.Because I had to, at a certain point, say, “What am I doing out here? Why am I doing this? What do I get out of it?” We don’t make money at these damn shows.We barely break even.There is no fame in it.People sort of think I went away between “Titanic” and “Avatar” and was buffing my nails someplace, sitting at the beach.Made all these films, made all these documentary films for a very limited audience.No fame, no glory, no money.What are you doing? You’re doing it for the task itself, for the challenge — and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team.Because we would do these things with 10-12 people working for years at a time.Sometimes at sea for 2-3 months at a time.And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you’ve done a task that you can’t explain to someone else.When you come back to the shore and you say, “We had to do this, and the fiber optic, and the attenuation, and the this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t explain it to people.It’s that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it.Creates a bond, creates a bond of respect.So, when I came back to make my next movie, which was “Avatar,” I tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return.And it really changed the dynamic.So, here I was again with a small team, in uncharted territory doing “Avatar,” coming up with new technology that didn’t exist before.Tremendously exciting.Tremendously challenging.And we became a family, over a four and half year period.And it completely changed how I do movies.So, people have commented on how, well, you know, you brought back the ocean organisms and put them on the planer of Pandora.To me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity.It’s the most powerful thing you own.Imagination is a force that can actually manifest a reality.And the respect of your team is more important than all the laurels in the world.I have young film makers come up to me and say, “Give me some advice for doing this.” And I say, “Don’t put limitations on yourself.Other people will do that for you, don’t do it to yourself, don’t bet against yourself.And take risks.” NASA has this phrase that they like: “Failure is not an option.” But failure has to be an option in art and in exploration, because it’s a leap of faith.And no important endeavor that required innovation was done without risk.You have to be willing to take those risks.So, that’s the thought I would leave you with, is that in whatever you’re doing, failure is an option, but fear is not.Thank you.10

第三篇：從電影《阿凡達(dá)》透視導(dǎo)演的普世價(jià)值觀

從電影《阿凡達(dá)》透視導(dǎo)演的普世價(jià)值觀

一、卡梅隆的“普世主義思想”天定命運(yùn)論

我們用愛(ài)因斯坦的相對(duì)論將普世主義的定義分為廣義和狹義兩種，狹義上的普世主義就是源于西方宗教基督教的《圣經(jīng)》中所宣揚(yáng)的“世人終將得到神的祝福，擁有永不逝去的歡樂(lè)”所以狹義的普世主義是以救贖世人為初衷而誕生的，它是普世主義的核心論據(jù)。而廣義上的普世主義思想則是平等對(duì)待不同的人和種族，是活力和穩(wěn)定的綜合體。這種開(kāi)放的思想在西方發(fā)展史的思想文化中占了很大的比重。早期的普世主義是宗教統(tǒng)治者借以捍衛(wèi)“有神論”的宣傳手段之一，它因?yàn)槠湫麚P(yáng)的“各階層都是平等的，人與人應(yīng)當(dāng)被同視”的思想，不僅對(duì)西方國(guó)家最初的核心價(jià)值觀的形成產(chǎn)生了重要影響，使其將整個(gè)國(guó)家機(jī)構(gòu)與國(guó)民之間的價(jià)值有機(jī)地綜合，更將世人的思想通過(guò)人民意愿中的方式進(jìn)行統(tǒng)一。普世主義是西方哲學(xué)上的一個(gè)重要分支。

美國(guó)文化發(fā)展在宗教的信仰上是歐洲文化的繼承，這直接導(dǎo)致其文化思想在發(fā)展過(guò)程中受到很大的普世主義思想的影響。因?yàn)槊绹?guó)普世文化是在歐洲文化的基礎(chǔ)上所發(fā)展形成的獨(dú)立并適用于本國(guó)國(guó)土的文化形態(tài)與理念，所以它已經(jīng)不是單純的歐洲文化的分支，而是具有鮮明的美國(guó)文化特征的普世主義文化思想。雖然美國(guó)將多種的外來(lái)文化與本國(guó)的地質(zhì)環(huán)境與人文歷史因素相結(jié)合，發(fā)展成適用于自己國(guó)家的文化形態(tài)，但是其文化信仰中最為鮮明的依然是普世文化。(更多電影盡在)

西方宗教文化思想中源于基督教的一神信仰和普救論是美國(guó)普世主義的宗教根源，其中所宣揚(yáng)的“世人平等、尊重民意、向往自由”的思想也正是普世主義所要表達(dá)的。

詹姆斯·卡梅隆是20世紀(jì)末本世紀(jì)初的世界著名的好萊塢導(dǎo)演之一，他是1954年出生于加拿大的美國(guó)電影導(dǎo)演。因?yàn)樵谛r(shí)候便跟隨家人到美國(guó)生活，思想在很大程度上受美國(guó)普世文化的影響，所以在他的電影作品中有很多具有美國(guó)普世文化思想的影子。從表達(dá)對(duì)“自由愛(ài)情的向往”的《泰坦尼克號(hào)》到宣揚(yáng)“愛(ài)與永恒”的《阿凡達(dá)》，都在不同程度上表現(xiàn)了普世主義文化的深層思想。尤其是于2010年上映的《阿凡達(dá)》這部通過(guò)3D技術(shù)處理的科幻巨制，不僅藝術(shù)場(chǎng)景震撼眼球，劇情的構(gòu)思安插更是陣容龐大但嚴(yán)謹(jǐn)合情。在這里，我們主要是對(duì)其近期最具有影響力的作品《阿凡達(dá)》進(jìn)行分析，解說(shuō)卡梅隆導(dǎo)演在影視作品中所要表達(dá)的普世主義思想，進(jìn)而分析普世主義的整體形態(tài)。

二、電影《阿凡達(dá)》普世主義思想的具體體現(xiàn)

《阿凡達(dá)》是一部于2010年在美國(guó)上映的科幻巨制，它從上映之初就引起廣泛的關(guān)注，更是在全球引起了不小的轟動(dòng)，成為當(dāng)時(shí)媒體各界的熱點(diǎn)議題。這部影片綜合了科幻與魔幻兩種不同的電影類(lèi)型，開(kāi)創(chuàng)了幻想類(lèi)電影的新路線。在影片的主題上，更是具有濃郁的西方文化特點(diǎn)。

“上帝選民論”是影片所要傳達(dá)出的主旨

“上帝選民論”最早是源于以色列人的民族自信心以及種族自豪感，他們相信自己是神挑選出的民族，認(rèn)為神啟示和帶領(lǐng)了他們的祖先。后來(lái)美國(guó)將“上帝選民論”帶入到本土，并將這種神選論的意向傳達(dá)給人民，使人們心中產(chǎn)生一種自豪感，這種認(rèn)知給美國(guó)套上了一種神諭的色彩。美國(guó)人借此將自己當(dāng)成“上帝的選民”并試圖將這種認(rèn)知傳達(dá)給全世界。詹姆斯便是因?yàn)槭艿竭@種文化思想的影響，所以在影視作品《阿凡達(dá)》中將其體現(xiàn)為“伊娃選民論”。

影片《阿凡達(dá)》中的伊娃是潘多拉星球中土著納威族Omaticaya部落的精神領(lǐng)袖，是代表著鮮明的納美人人性特點(diǎn)的一個(gè)普通人。在影片中，代表“大母神”theGreatMother的伊娃對(duì)族人來(lái)說(shuō)是我們現(xiàn)實(shí)生活中上帝一般的存在，她就像是萬(wàn)物的開(kāi)創(chuàng)者，是土著納威族的神明。詹姆斯·卡梅隆將“大母神”當(dāng)做上帝的喻體，從而在納美人心中創(chuàng)造出一個(gè)精神

領(lǐng)袖，當(dāng)劇情發(fā)展到杰克·薩利（JakeSully）來(lái)到潘多拉星球，埃圖康（Eytucan）是土著納威族的部落首領(lǐng)，他的妻子姆亞（Moat）就是部落的精神領(lǐng)袖。他們兩人是部落及族人的生活、信仰的引導(dǎo)傳播者。影片中的代表伊娃的姆亞（Moat）守護(hù)著Navi族人所生存的家園樹(shù)，但是外族人的入侵讓他們的家園樹(shù)受到破壞，所以他們?cè)谥鹘墙芸说暮粲跸伦龀隽朔纯梗@也反映了伊娃姆亞對(duì)族人的守護(hù)。對(duì)整個(gè)劇情來(lái)說(shuō)，伊娃是一個(gè)起到關(guān)鍵性作用的人物，她是一個(gè)精神信仰的轉(zhuǎn)移，代表著人們信念的存在。這種神靈的喻體，在種族信仰強(qiáng)烈的土著納威族族人心中具有十分神圣的地位。在這里，詹姆斯·卡梅隆導(dǎo)演的普世主義思想十分明顯地表現(xiàn)出來(lái)。

《阿凡達(dá)》“伊娃救世”與普世主義“天定命運(yùn)論”

“天定命運(yùn)論”也是美國(guó)普世主義的一個(gè)價(jià)值信仰，最早由美國(guó)雜志編輯沙利文提出并闡述。它的核心內(nèi)容是根據(jù)“上帝選民論”提出的，源于美國(guó)人對(duì)自己文化的優(yōu)越感而產(chǎn)生的，自己是上帝所選中的受到神靈庇護(hù)的生命的存在。這種神諭色彩濃厚的論據(jù)影響著美國(guó)人的經(jīng)濟(jì)、政治等各個(gè)方面，在經(jīng)濟(jì)上，它加快了美國(guó)工業(yè)的快速發(fā)展，給人們的生活帶來(lái)了根本性的改變；在政治上，它加速了社會(huì)自由與平等的構(gòu)成。在這里，美國(guó)普世主義思想已經(jīng)可以作為一個(gè)獨(dú)立的思想文化影響世人，它將歐洲基督教的思想精髓吸收到本土文化中，得到新的思想文化產(chǎn)物，是西方普世主義價(jià)值意義的提升。美國(guó)普世主義不僅影響著美國(guó)公民的價(jià)值觀與世界觀，也在一定程度上影響了整個(gè)世界文化，產(chǎn)生了具有歷史意義的思想成果。

卡梅隆導(dǎo)演在執(zhí)導(dǎo)《阿凡達(dá)》這部影片時(shí)，將主角杰克與好萊塢大片中常出現(xiàn)的正面人物區(qū)別開(kāi)來(lái)，讓他代表著整個(gè)地球上的人們對(duì)正義與公正的向往，片中的角色對(duì)話全部采用了美式英語(yǔ)，并且將地球上所有的種族都?xì)w納為一個(gè)統(tǒng)一的群體——地球人，這是影片導(dǎo)演對(duì)“天定命運(yùn)論”的另一種體現(xiàn)方式。電影中在潘多拉星球上的各種族的部落首領(lǐng)都是由伊娃來(lái)選任，然后象征著外族的地球人入侵了他們的星球，影響了他們?cè)景捕ǖ纳睢?dǎo)演的普世主義思想也在這里體現(xiàn)——因?yàn)椴荒芙邮鼙桓淖兊纳顮顟B(tài)，在潛意識(shí)中有著強(qiáng)烈的“天定命運(yùn)論”的種族優(yōu)越感的部落族人始終認(rèn)為自己是由主神伊娃選中的、被神護(hù)佑的民族，所以對(duì)外來(lái)的文化生活各方面的入侵有著極為鮮明的排斥。影片在一些細(xì)節(jié)上依然延續(xù)了美國(guó)好萊塢魔幻影片的經(jīng)典劇情，將人類(lèi)中具有貪婪本性的一類(lèi)作為反派角色去設(shè)定，進(jìn)而對(duì)地球環(huán)境進(jìn)行深思，所以在很大程度上，這是一部環(huán)保題材的影片。卡梅隆作為美國(guó)好萊塢最具代表性的導(dǎo)演之一，他的作品大多具有濃厚美國(guó)普世主義思想，在《阿凡達(dá)》中，他更是巧妙地將這種情懷轉(zhuǎn)移到潘多拉星球的人身上，但是主角薩利所代表的形象仍然是美國(guó)普世主義的體現(xiàn)。從普世主義的角度去看，我們可以將潘多拉星球人看做神選種族，地球人是這個(gè)星球的入侵者，那么作為主角的杰克·薩利則承受了英雄與間諜兩個(gè)雙面的角色。作為影片的主角，他在受到潘多拉星球部落公主的感化之后得到了自我人性的救贖。“眾生平等觀”在潘多拉星球人眼中的重要

電影《阿凡達(dá)》所表達(dá)的主題是普世主義不變的內(nèi)容，即存在的生命都應(yīng)被認(rèn)可。影片中的納美人正是具有普世主義思想的價(jià)值觀，認(rèn)為存在的事物能夠被發(fā)現(xiàn)就有被理解認(rèn)同的價(jià)值。所以影片中在潘多拉星球上生活的種族雖然很多，但是他們對(duì)生命的平等和尊重卻是沒(méi)有分歧的。電影進(jìn)行到伊娃將妮特麗派去解救剛剛進(jìn)入納美人的活動(dòng)領(lǐng)域并遭到攻擊的杰克時(shí)，她也為傷害到毒狼的行為感到憤怒。納美人也是因其純善的本性而能夠在最后原諒并相信了杰克，并得到雙方的救贖，保護(hù)其生存的家園。這是導(dǎo)演通過(guò)潘多拉星球宣揚(yáng)的普世主義思想價(jià)值觀的體現(xiàn)。

三、卡梅隆其他影視作品中普世主義的體現(xiàn)

在普世主義思想的影響下，美國(guó)好萊塢著名導(dǎo)演的作品大多受其影響而帶有或多或少的普世主義文化色彩。詹姆斯·卡梅隆就是這種思潮影響下誕生的導(dǎo)演之一，他的電影風(fēng)格具

有鮮明的浪漫主義色彩，但其影視作品依然流露著或多或少的普世主義思想。下面，我們?cè)凇栋⒎策_(dá)》之后，分析其在不同時(shí)期創(chuàng)作出的具有代表性的幾部作品中所流露的普世主義思想。

《泰坦尼克號(hào)》

這是一部浪漫動(dòng)人的愛(ài)情史詩(shī)巨作。主要講述了在災(zāi)難背景下的一段感人至深的愛(ài)情故事。影片以豪華郵輪泰坦尼克號(hào)的沉淪為背景，通過(guò)女主角Rose的講述回憶了這段關(guān)于窮小子與富家女之間的愛(ài)情故事。他們?cè)跈C(jī)緣巧合之下認(rèn)識(shí)了彼此并相愛(ài)，在空間有限的泰坦尼克號(hào)上創(chuàng)造了無(wú)限的愛(ài)戀。在泰坦尼克號(hào)上，人們根據(jù)社會(huì)地位住在不同的船艙中，這是對(duì)社會(huì)尊卑貴賤不同對(duì)待的縮影。但是住在低等艙的杰克卻與不同世界的住在上等艙的Rose擦出了愛(ài)的火花。影片中代表社會(huì)底層人民的Jack是一個(gè)樂(lè)觀勇于面對(duì)生活的大男孩，他不怕身為富家小姐的Rose的家人的嘲笑，不因?yàn)樯钬毨ё员埃蛲寺拿篮玫纳睿頌楦患倚〗愕腞ose厭倦腐敗的物質(zhì)生活，向往自由、平等，這是美國(guó)普世思想的體現(xiàn)。他們代表著美國(guó)普世主義“自由、平等、民主”的價(jià)值觀，他們的性格中就帶有美國(guó)普世主義的精神文化。

《終結(jié)者2》

除了兩部在票房上轟動(dòng)全球的好萊塢巨制電影，導(dǎo)演卡梅隆的早期作品《終結(jié)者2》也是其具有代表性的作品之一。《終結(jié)者2》是由當(dāng)時(shí)的美國(guó)著名演員阿諾德·施瓦辛格領(lǐng)銜主演，影片中的T-800是被賦予人性的來(lái)自未來(lái)世界的機(jī)器人，他的存在具有濃郁的“上帝選民論”色彩，他改變了約翰的無(wú)知叛逆并與其產(chǎn)生了深厚的情感，在其接受扮演約翰父親的這一重要任務(wù)之后，故事開(kāi)始走向正軌，影片中最令人感動(dòng)的就是他與約翰告別時(shí)感人至深的場(chǎng)面。在這部早期影片中導(dǎo)演詹姆斯·卡梅隆的獨(dú)有風(fēng)格就已經(jīng)初備雛形。影片中的約翰·康納是被上帝選中的領(lǐng)袖人物，他是無(wú)法戰(zhàn)勝的存在。這也是美國(guó)普世主義中的“天定命運(yùn)論”的體現(xiàn)。

四、結(jié)語(yǔ)

作為美國(guó)思想文化根源的普世主義，是西方文化的繼承與發(fā)展。它在與美國(guó)本土結(jié)合與適應(yīng)下生成了具有其鮮明特色的獨(dú)立的思想文化，這種思想影響著美國(guó)人民的世界觀與價(jià)值觀，甚至加速了美國(guó)社會(huì)經(jīng)濟(jì)的發(fā)展。普世主義更是因?yàn)樗碇藗兯非蟮摹捌降取⒚裰髋c自由”在世界被廣泛議論。