阿凡达导演卡梅隆TED演讲：失败是一个选项,畏惧不是

第一篇：阿凡达导演卡梅隆TED演讲：失败是一个选项,畏惧不是

阿凡达导演卡梅隆TED演讲：失败是一个选项，畏惧不是

失败是一个选项，畏惧不是

——《阿凡达》导演詹姆斯·卡梅隆在TED的励志演讲稿

1、科幻的童年

我是看科幻小说长大的。高中时，我连坐校车上下学时都在读着科幻小说。这些书将我带到另一个世界，满足了我无止境的好奇。每当我在学校，我总是在树丛中寻找一些“标本”——青蛙、蛇、昆虫……我把它们放在显微镜下观察。我总是试图认知这个世界，想找到它可能的边界。

我对科幻小说的热爱或许是那个时代的写照。60年代末期，人类登上了月球，去了深海。通过电视，我们看到了不同的动物和地方。这都是我们不曾想象的。这种氛围中，我不知不觉地喜欢上了科幻小说。每当我看完小说，故事中的影像就会在我脑海中不断放映。或许是因为创造力必须找到一个发泄方式，我开始画外星人、机器人、飞船……我甚至会在数学课上在课本的背面画画。

对科幻小说的不断接触让我想到：外星人不一定生存在外太空，他们很有可能就生活在我们星球上。所以15岁时，我决定成为一个潜水员。而当时实现梦想唯一的问题是我生活在加拿大的一个小山村，离最近的海有6英里远。但我父亲并没有让这成为我梦想的障碍，他在边境对岸的美国纽约州布法罗找到了一个潜水培训班。于是我便在布法罗的一个泳池里获得了潜水证书。直到两年后，当我们全家搬到加州，我才第一次有机会真正地潜水。在这之后的40年里，我在海底大约总共花了3万个小时。大海如此丰富多彩，众多神奇的生物生活其中。比起我们的想象力，自然的想象力完全没有边界。我想，至今我对大海的了解还是很少，但我对海洋的好奇却一直延续着。

2、电影魔法师与科学体验

但长大后，我并没有成为一名潜水员，我选择的职业是电影。我喜欢讲故事，画图画，电影看起来是最合适的工作。当然，我讲述的故事都是科幻的——终结者、外星人等等。

我也将我对潜水的热爱和电影融合在了一起。拍摄《深渊》时，我有了一些有趣的想法。当我们要塑造一个水状的生物时，我们使用了“计算机生成动画”——CG。CG的应用产生了电影历史上第一个软表面、电脑制成的形象。虽然这部电影使公司差点亏本，但全世界的观众被这种新技术所震撼。根据亚瑟·克拉克定律——任何高难度的技术和魔法没有什么区别，很多人觉得自己看到了一些“神奇”的东西。这使我感到很兴奋。我想CG应该被用到电影艺术中去。所以，在我接下来的电影《终结者2》中，我把这种技术又推近了一步，创造了一个金属人。我又变了一次魔术。这部电影很成功，我们赚了一些钱。

作为一个电影人，我看到了一个全新的世界，一个全新的未来。于是我和好友斯坦·温斯顿创立了一家公司，叫做“数字领域”。公司的概念是要跳过普通的电影制作直接进入数字电影制作。我们也是这么做的，这也使得我们在一段时间内有了一定的优势。但在90年代中期，我发现我们有些落后了。

我写《阿凡达》这部电影就是想要推动整个视觉体验以及动画效果的进步。让电影人物跳出人们想象的框架，完全用动画效果诠释人物表情。但一开始，员工告诉我，他们还没有能力做到。于是我把《阿凡达》放在了一边，转而制作了另一部电影——《泰坦尼克号》。

在为《泰坦尼克号》寻找投资商时，我告诉制作人这是一部关于爱情的电影。它的故事就像罗密欧与朱丽叶一样凄美动人。而事实上，我自己真正想做的是潜入海底探寻真正的泰坦尼克号。这是我的真心话，电影公司并不知道。我告诉他们，我们要沉入海底，拍摄泰坦尼克号真实的画面。我们将把这个片段放在首映式上展现，这将会引起很大的轰动，票房也会很好。令人意外，电影公司真的同意出钱，支持我去探索泰坦尼克号。虽然到现在我仍觉得有些疯狂，但这就是“想象创造了现实”。两个月后，我在北大西洋的一艘俄罗斯潜艇里用肉眼看到真正的泰坦尼克号。

第二篇：Avatar 卡梅隆演讲——《阿凡达》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：从电影《阿凡达》透视导演的普世价值观

从电影《阿凡达》透视导演的普世价值观

一、卡梅隆的“普世主义思想”天定命运论

我们用爱因斯坦的相对论将普世主义的定义分为广义和狭义两种，狭义上的普世主义就是源于西方宗教基督教的《圣经》中所宣扬的“世人终将得到神的祝福，拥有永不逝去的欢乐”所以狭义的普世主义是以救赎世人为初衷而诞生的，它是普世主义的核心论据。而广义上的普世主义思想则是平等对待不同的人和种族，是活力和稳定的综合体。这种开放的思想在西方发展史的思想文化中占了很大的比重。早期的普世主义是宗教统治者借以捍卫“有神论”的宣传手段之一，它因为其宣扬的“各阶层都是平等的，人与人应当被同视”的思想，不仅对西方国家最初的核心价值观的形成产生了重要影响，使其将整个国家机构与国民之间的价值有机地综合，更将世人的思想通过人民意愿中的方式进行统一。普世主义是西方哲学上的一个重要分支。

美国文化发展在宗教的信仰上是欧洲文化的继承，这直接导致其文化思想在发展过程中受到很大的普世主义思想的影响。因为美国普世文化是在欧洲文化的基础上所发展形成的独立并适用于本国国土的文化形态与理念，所以它已经不是单纯的欧洲文化的分支，而是具有鲜明的美国文化特征的普世主义文化思想。虽然美国将多种的外来文化与本国的地质环境与人文历史因素相结合，发展成适用于自己国家的文化形态，但是其文化信仰中最为鲜明的依然是普世文化。(更多电影尽在)

西方宗教文化思想中源于基督教的一神信仰和普救论是美国普世主义的宗教根源，其中所宣扬的“世人平等、尊重民意、向往自由”的思想也正是普世主义所要表达的。

詹姆斯·卡梅隆是20世纪末本世纪初的世界著名的好莱坞导演之一，他是1954年出生于加拿大的美国电影导演。因为在小时候便跟随家人到美国生活，思想在很大程度上受美国普世文化的影响，所以在他的电影作品中有很多具有美国普世文化思想的影子。从表达对“自由爱情的向往”的《泰坦尼克号》到宣扬“爱与永恒”的《阿凡达》，都在不同程度上表现了普世主义文化的深层思想。尤其是于2010年上映的《阿凡达》这部通过3D技术处理的科幻巨制，不仅艺术场景震撼眼球，剧情的构思安插更是阵容庞大但严谨合情。在这里，我们主要是对其近期最具有影响力的作品《阿凡达》进行分析，解说卡梅隆导演在影视作品中所要表达的普世主义思想，进而分析普世主义的整体形态。

二、电影《阿凡达》普世主义思想的具体体现

《阿凡达》是一部于2010年在美国上映的科幻巨制，它从上映之初就引起广泛的关注，更是在全球引起了不小的轰动，成为当时媒体各界的热点议题。这部影片综合了科幻与魔幻两种不同的电影类型，开创了幻想类电影的新路线。在影片的主题上，更是具有浓郁的西方文化特点。

“上帝选民论”是影片所要传达出的主旨

“上帝选民论”最早是源于以色列人的民族自信心以及种族自豪感，他们相信自己是神挑选出的民族，认为神启示和带领了他们的祖先。后来美国将“上帝选民论”带入到本土，并将这种神选论的意向传达给人民，使人们心中产生一种自豪感，这种认知给美国套上了一种神谕的色彩。美国人借此将自己当成“上帝的选民”并试图将这种认知传达给全世界。詹姆斯便是因为受到这种文化思想的影响，所以在影视作品《阿凡达》中将其体现为“伊娃选民论”。

影片《阿凡达》中的伊娃是潘多拉星球中土著纳威族Omaticaya部落的精神领袖，是代表着鲜明的纳美人人性特点的一个普通人。在影片中，代表“大母神”theGreatMother的伊娃对族人来说是我们现实生活中上帝一般的存在，她就像是万物的开创者，是土著纳威族的神明。詹姆斯·卡梅隆将“大母神”当做上帝的喻体，从而在纳美人心中创造出一个精神

领袖，当剧情发展到杰克·萨利（JakeSully）来到潘多拉星球，埃图康（Eytucan）是土著纳威族的部落首领，他的妻子姆亚（Moat）就是部落的精神领袖。他们两人是部落及族人的生活、信仰的引导传播者。影片中的代表伊娃的姆亚（Moat）守护着Navi族人所生存的家园树，但是外族人的入侵让他们的家园树受到破坏，所以他们在主角杰克的呼吁下做出了反抗，这也反映了伊娃姆亚对族人的守护。对整个剧情来说，伊娃是一个起到关键性作用的人物，她是一个精神信仰的转移，代表着人们信念的存在。这种神灵的喻体，在种族信仰强烈的土著纳威族族人心中具有十分神圣的地位。在这里，詹姆斯·卡梅隆导演的普世主义思想十分明显地表现出来。

《阿凡达》“伊娃救世”与普世主义“天定命运论”

“天定命运论”也是美国普世主义的一个价值信仰，最早由美国杂志编辑沙利文提出并阐述。它的核心内容是根据“上帝选民论”提出的，源于美国人对自己文化的优越感而产生的，自己是上帝所选中的受到神灵庇护的生命的存在。这种神谕色彩浓厚的论据影响着美国人的经济、政治等各个方面，在经济上，它加快了美国工业的快速发展，给人们的生活带来了根本性的改变；在政治上，它加速了社会自由与平等的构成。在这里，美国普世主义思想已经可以作为一个独立的思想文化影响世人，它将欧洲基督教的思想精髓吸收到本土文化中，得到新的思想文化产物，是西方普世主义价值意义的提升。美国普世主义不仅影响着美国公民的价值观与世界观，也在一定程度上影响了整个世界文化，产生了具有历史意义的思想成果。

卡梅隆导演在执导《阿凡达》这部影片时，将主角杰克与好莱坞大片中常出现的正面人物区别开来，让他代表着整个地球上的人们对正义与公正的向往，片中的角色对话全部采用了美式英语，并且将地球上所有的种族都归纳为一个统一的群体——地球人，这是影片导演对“天定命运论”的另一种体现方式。电影中在潘多拉星球上的各种族的部落首领都是由伊娃来选任，然后象征着外族的地球人入侵了他们的星球，影响了他们原本安定的生活。导演的普世主义思想也在这里体现——因为不能接受被改变的生活状态，在潜意识中有着强烈的“天定命运论”的种族优越感的部落族人始终认为自己是由主神伊娃选中的、被神护佑的民族，所以对外来的文化生活各方面的入侵有着极为鲜明的排斥。影片在一些细节上依然延续了美国好莱坞魔幻影片的经典剧情，将人类中具有贪婪本性的一类作为反派角色去设定，进而对地球环境进行深思，所以在很大程度上，这是一部环保题材的影片。卡梅隆作为美国好莱坞最具代表性的导演之一，他的作品大多具有浓厚美国普世主义思想，在《阿凡达》中，他更是巧妙地将这种情怀转移到潘多拉星球的人身上，但是主角萨利所代表的形象仍然是美国普世主义的体现。从普世主义的角度去看，我们可以将潘多拉星球人看做神选种族，地球人是这个星球的入侵者，那么作为主角的杰克·萨利则承受了英雄与间谍两个双面的角色。作为影片的主角，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赎。“众生平等观”在潘多拉星球人眼中的重要

电影《阿凡达》所表达的主题是普世主义不变的内容，即存在的生命都应被认可。影片中的纳美人正是具有普世主义思想的价值观，认为存在的事物能够被发现就有被理解认同的价值。所以影片中在潘多拉星球上生活的种族虽然很多，但是他们对生命的平等和尊重却是没有分歧的。电影进行到伊娃将妮特丽派去解救刚刚进入纳美人的活动领域并遭到攻击的杰克时，她也为伤害到毒狼的行为感到愤怒。纳美人也是因其纯善的本性而能够在最后原谅并相信了杰克，并得到双方的救赎，保护其生存的家园。这是导演通过潘多拉星球宣扬的普世主义思想价值观的体现。

三、卡梅隆其他影视作品中普世主义的体现

在普世主义思想的影响下，美国好莱坞著名导演的作品大多受其影响而带有或多或少的普世主义文化色彩。詹姆斯·卡梅隆就是这种思潮影响下诞生的导演之一，他的电影风格具

有鲜明的浪漫主义色彩，但其影视作品依然流露着或多或少的普世主义思想。下面，我们在《阿凡达》之后，分析其在不同时期创作出的具有代表性的几部作品中所流露的普世主义思想。

《泰坦尼克号》

这是一部浪漫动人的爱情史诗巨作。主要讲述了在灾难背景下的一段感人至深的爱情故事。影片以豪华邮轮泰坦尼克号的沉沦为背景，通过女主角Rose的讲述回忆了这段关于穷小子与富家女之间的爱情故事。他们在机缘巧合之下认识了彼此并相爱，在空间有限的泰坦尼克号上创造了无限的爱恋。在泰坦尼克号上，人们根据社会地位住在不同的船舱中，这是对社会尊卑贵贱不同对待的缩影。但是住在低等舱的杰克却与不同世界的住在上等舱的Rose擦出了爱的火花。影片中代表社会底层人民的Jack是一个乐观勇于面对生活的大男孩，他不怕身为富家小姐的Rose的家人的嘲笑，不因为生活贫困自卑，向往浪漫的美好的生活，而身为富家小姐的Rose厌倦腐败的物质生活，向往自由、平等，这是美国普世思想的体现。他们代表着美国普世主义“自由、平等、民主”的价值观，他们的性格中就带有美国普世主义的精神文化。

《终结者2》

除了两部在票房上轰动全球的好莱坞巨制电影，导演卡梅隆的早期作品《终结者2》也是其具有代表性的作品之一。《终结者2》是由当时的美国著名演员阿诺德·施瓦辛格领衔主演，影片中的T-800是被赋予人性的来自未来世界的机器人，他的存在具有浓郁的“上帝选民论”色彩，他改变了约翰的无知叛逆并与其产生了深厚的情感，在其接受扮演约翰父亲的这一重要任务之后，故事开始走向正轨，影片中最令人感动的就是他与约翰告别时感人至深的场面。在这部早期影片中导演詹姆斯·卡梅隆的独有风格就已经初备雏形。影片中的约翰·康纳是被上帝选中的领袖人物，他是无法战胜的存在。这也是美国普世主义中的“天定命运论”的体现。

四、结语

作为美国思想文化根源的普世主义，是西方文化的继承与发展。它在与美国本土结合与适应下生成了具有其鲜明特色的独立的思想文化，这种思想影响着美国人民的世界观与价值观，甚至加速了美国社会经济的发展。普世主义更是因为它代表着人们所追求的“平等、民主与自由”在世界被广泛议论。