樂，學中文、教中文。/Enjoy learning &Teaching Chinese

http://paper.udn.com/papers.php?pname=POH0067

你會如何講述一個關於世界毀滅的故事呢？

How do you tell a story about the destruction of the world?

電影與電視製作人當然知道如何以外星人來講述世界毀滅的故事，或以虛構的政治陰謀與乖僻的領導人當故事背景。不過，捕捉真實的全球氣候變遷威脅遠比拍攝任何太空船登陸畫面要困難。這一點，去問近來推出驚悚片《母親！》、將他的氣候變遷訊息埋藏於寓言中的戴倫．亞洛諾夫斯基就能知道。

Movie- and TV-makers know how to do it with aliens, of course, or suggest it with invented political intrigue and rogue leaders. But capturing the real global threat of climate change is far harder than filming any spaceship landing. Just ask Darren Aronofsky, whose recent thriller, “Mother!,” buried his climate-change message in allegory.

導演兼演員費雪．史蒂文斯說：「真的很難。它不是個十分迷人的主題，人們不想去處理和思考這事。」

“It’s really tough,” said Fisher Stevens, the filmmaker and actor. “It’s not a very sexy subject, and people just don’t want to deal with it and think about it.”

然而，要好萊塢製作有關氣候變遷的電影並不容易，而即使真的觸及氣候變遷，也鮮少努力喚醒大眾採取行動，2004年羅蘭．艾默里克的災難電影《明天過後》即為一例。氣候科學家說，即便是出於一片好意且擁有精心起草警世故事的電影製片人，也往往未得要領。

But getting Hollywood movies about climate change made is not easy. And when they do refer to it — as did the Roland Emmerich 2004 disaster flick “The Day After Tomorrow” — they rarely do much to galvanize the public to action. Even well-intentioned filmmakers with carefully drafted cautionary tales often miss the mark, climate scientists say.

《我們對自己嘗試不去思考全球暖化問題的看法》（暫譯）一書作者柏艾斯潘．斯托克尼斯表示，部分問題純出在劇情。

Part of the problem is simply plot, said Per Espen Stoknes, the author of “What We Think About When We Try Not to Think About Global Warming.”

他說：「跟恐怖主義和毒品不同的是，氣候變遷並無明顯的敵人。我們都是氣候危機的參與者。若有敵人，就是我們自己，跟自己開戰是很難的一件事。」

“As opposed to terrorism or drugs, there is no clear enemy with climate change,” he said. “We’re all participating in the climate crisis — if there is an enemy, it’s us. And it’s hard to go to war against ourselves.”

當氣候變遷展現在銀幕上時，往往是硫磺烈火肆虐的世界末日景象，幾乎未給人們帶有希望的反應留下任何空間。氣候研究者與社會科學家則表示，這正好釋出了錯誤的訊息。

And when climate change is depicted on-screen, it is often in an onslaught of fire and brimstone, an apocalyptic vision that hardly leaves room for a hopeful human response. That, climate researchers and social scientists say, is exactly the wrong message to give.

然而，這恰好是好萊塢喜歡拍的那種高風險電影，例如將紐約市拍成冰封的反烏托邦景象的電影《明天過後》，或是10月20日上映的電影《氣象戰》，片中描述了氣候受到衛星故障影響而大亂的情形。

But that is just the kind of high-stakes film that Hollywood loves to produce — like “The Day After Tomorrow,” which depicted New York City as a frozen dystopian landscape. Or “Geostorm,” due Oct. 20, in which the climate goes apocalyptically haywire, thanks to satellites that malfunction.