【文章內(nèi)容簡(jiǎn)介】 到補(bǔ)充，整個(gè)熱鹽循環(huán)就會(huì)終止。而北大西洋高緯度地區(qū)海洋表面的海水之所以下沉，是因?yàn)槠錅囟取Ⅺ}度造成其密度較大；如果其溫度高一些，或者鹽度淡一些，則其密度就要降低；如果其溫度足夠高或者鹽度足夠淡，其密度可能就不足以大到下沉所需的密度，從而終止墨西哥灣暖流乃至全球海洋熱鹽環(huán)流。如果足夠多的淡水進(jìn)入北大西洋，就可以把其高緯度地區(qū)的海水稀釋到不足以下沉的密度；這就是新仙女木冰期的發(fā)生機(jī)制，也是《后天》中所描述的。一旦墨西哥灣暖流終止，西北歐地區(qū)氣溫就會(huì)降到同緯度其他地區(qū)加拿大北部和西伯利亞的水平，冰川會(huì)在挪威、瑞典、芬蘭和蘇格蘭等地開(kāi)始發(fā)育，潔白的冰雪會(huì)把更多的太陽(yáng)輻射反射回太空，減少地球所能獲得的熱量，進(jìn)一步降低氣溫；氣溫降低又會(huì)促進(jìn)冰川的發(fā)育，如此反復(fù)。雖然溫度下降的速度 6不會(huì)如《后天》中所描述的那么急劇，但是現(xiàn)在看，地球平均氣溫在10年內(nèi)下降20度左右是曾經(jīng)發(fā)生過(guò)的，以后再發(fā)生類似速度的降溫也是可能的。在新仙女木冰期，氣溫接近于末次盛冰期。中緯度地區(qū)即使在盛夏，最高氣溫也從不超過(guò)10度，而冬季中緯度地區(qū)的氣溫普遍在零下20度以下。從9月到次年5月，暴風(fēng)雪幾乎從不間斷。站在直布羅陀海峽或者長(zhǎng)江口，就能看到漂在海上的冰山。當(dāng)冰期來(lái)臨時(shí)，雪線和林線會(huì)下移和南移；大量淡水被鎖在高緯度地區(qū)的冰雪中，低緯度地區(qū)的降水會(huì)劇減，這都會(huì)極大干擾人類的生活。新仙女木冰期對(duì)人類早期文明造成了極大的沖擊，一般認(rèn)為，北美大陸的克羅維斯文化的消失就是新仙女木冰期造成的。當(dāng)然，人類也會(huì)適應(yīng)。在新仙女木冰期，西南亞和我國(guó)長(zhǎng)江三角洲地區(qū)誕生了農(nóng)業(yè)（歐亞大陸上其余地區(qū)的農(nóng)業(yè)全部是由這兩個(gè)地方傳播擴(kuò)散開(kāi)來(lái)的），很有可能是寒冷干燥的氣候造成的惡劣環(huán)境使得狩獵/采集不足以支持生存，逼迫人們轉(zhuǎn)向農(nóng)業(yè)。至于農(nóng)業(yè)的發(fā)明并沒(méi)有一般想象的那么困難，很有可能早期的狩獵/采集者發(fā)現(xiàn)，如果把自己吃剩下的果實(shí)留下一些扔到地里，第二年再來(lái)的時(shí)候同一個(gè)地方就會(huì)有豐富的食物；重復(fù)幾次，農(nóng)業(yè)就誕生了?，F(xiàn)代分子生物學(xué)表明，在強(qiáng)人工選擇的條件下，馴化農(nóng)作物最短可能只需要30代（30個(gè)種植季）就能夠獲得足夠好的品種。新仙女木冰期大約持續(xù)了1000~1300年，約在公元前9500年結(jié)束。其結(jié)束的原因現(xiàn)在還不清楚，但她的結(jié)束和開(kāi)始一樣突然，大概是在幾年內(nèi)氣溫上升了7度。等到新仙女木冰期結(jié)束時(shí)候，人類進(jìn)入了文明時(shí)代。【參考資料：百度百科】以上是我看了電影《后天》之后，通過(guò)運(yùn)用地球科學(xué)知識(shí)分析、查閱資料整理出來(lái)的期末影評(píng)，本學(xué)期的《從電影中解讀地球》課程十分精彩，讓我這一文科生也不得不感慨地球科學(xué)的神奇魅力，吳老師的授課更是令我受益匪淺，感謝老師一個(gè)學(xué)期18周的辛苦勞動(dòng)！祝： 工作順利！身體健康！羅舒婷 2013年6月第五篇：經(jīng)典英文電影影評(píng)China: A Century of Revolution（中國(guó)，革命的世紀(jì)）DISC ONE Part One: China in Revolution 1911–1949(1989)DISC TWO Part Two: The Mao Years 1949–1976(1994)DISC THREE Part Three: Born Under the Red Flag 1976–1997(1997)A film by Sue Williams coproduced by Kathryn DietzChina: A Century of Revolution is a sixhour tour de force journey through the country’s most tumultuous televised on PBS, this awardwinning documentary series presents an astonishingly candid view of a oncesecret nation with rare archival footage, insightful historical mentary and stunning eyewitness accounts from citizens who struggled through China’s most decisive in Revolution charts the pivotal years from the birth of the new republic to the establishment of the PRC, through foreign invasions, civil war and a bloody battle for power between Mao Zedong and Chiang Mao Years examines the turbulent era of Mao’s attempts to forge a “new China” from the warravaged and exhausted Under the Red Flag showcases China’s unlikely transformation into an extraordinary hybrid of munistcentralized politics with an everexpanding free market in scope, China: A Century of Revolution is critical viewing for anyone interested in this increasingly powerful and globally influential Millionaire（貧民窟的百萬(wàn)富翁）2008 A gaudy, gorgeous rush of color, sound and motion, “Slumdog Millionaire,” the latest from the British shapeshifter Danny Boyle, doesn’t travel through the lower depths, it giddily bounces from one horror to the modern fairy tale about a pauper angling to bee a prince, this sensory blowout largely takes place amid the squalor of Mumbai, India, where lost children and dogs sift through trash so fetid you swear you can smell the discarded mango as well as its peel, or could if the film weren’t already hurtling through another picturesque , who first stormed the British movie scene in the mid1990s with flashy entertainments like “Shallow Grave” and “Transporting,” has a flair for the other directors could turn a heroin addict rummaging inside a rank toilet bowl into a surrealistic underwater reverie, as he does in “Transporting,” and fewer still could do so while holding onto the character’s basic addict, played by Ewan McGregor, emerges from his repulsive splishsplashing with a nearbeatific smile(having successfully retrieved some pills), a terrible if darkly funny image that turns out to have been representative not just of ’s bent humor but also of his worldview: better to swim than to es naturally to Jamal(the British actor Dev Patel in his featurefilm debut), who earns a living as a chaiwallah serving fragrant tea to callcenter workers in Mumbai and who, after a series of alternating exhilarating and unnerving adventures, has landed in the hot seat on the television game show “Who Wants to Be a Millionaire.” Yet while the story opens with Jamal on the verge of grabbing the big prize, Simon Beaufoy’s cleverly kinked screenplay, adapted from a novel by Vikas Swarup, embraces a fluid view of time and space, effortlessly shuttling between the young contestant’s past and his present, his childhood spaces and grownup , narrative doesn’t begin and end: it flows and eddies — just like all rights the texture of Jamal’s life should have been brutally coarsened by tragedy and poverty by the time he makes a grab for the television because “Slumdog Millionaire” is selfconsciously(perhaps mercially)framed as a contemporary fairy tale cum love story, or because leans toward the sanguine, this proves to be one of the most upbeat stories about living in hell ’s a life that begins in a vast, vibrant, sunsoaked, jampacked ghetto, a kaleidoscopic city of flimsy shacks and struggling humanity and takes an abrupt, cruel turn when Jamal(Ayush Mahesh Khedekar), then an exuberant 7, and his cagier brother, Salim(Azharuddin Mohammed Ismail), witness the murder of their mother(Sanchita Choudhary)by marauding fanatics armed with antiMuslim epithets and into the larger, uncaring world along with another new orphan, a shy beauty named Latika(Rubina Ali plays the child, Freida Pinto the teenager), the three children make their way from one refuge to another before falling prey to a villain whose exploitation pushes the story to the edge of the there’s something undeniably fascinating, or at least watchable, about this ghastly interlude — the young actors are very appealing and sympathetic, and the images are invariably pleasing even when they should not be — it’s unsettling to watch these young characters and, by extension, the young nonprofessionals playing them enact such a doesn’t help even if you remember that Jamal makes it out alive long enough to have his 15 televised ’s hard to hold onto any reservations in the face of ’s resolutely upbeat pitch and seductive visual shot with great sensitivity to color by the cinematogra