*德国古典哲学一般是指康德、费希特、谢林、黑格尔和费尔巴哈的哲学，是代表西方近代哲学的最高阶段。它继承了由德国哲学家莱布尼茨代表的唯理主义倾向，同时又受到了苏格兰启蒙运动中著名哲学家休谟的经验主义和怀疑论的影响，此外以莱辛、歌德为代表的启蒙运动文学也对德国古典哲学起到了相当程度的影响。（斯宾诺莎的宿命论思想有时也被认为是德国古典哲学的重要思想来源之一。）在这些思想的共同影响下，德国古典哲学家总结并探讨了一系列哲学上的重大问题，尽管他们中的多数经常被泛泛地认为是唯心主义，但他们的主张却不是统一的。
康德是一个二元论者和不可知论者，他为了调和唯理主义和经验主义，提出了自己的批判哲学。费希特则持有一种主观唯心主义（后期也被认为倾向于客观唯心主义），谢林和黑格尔有时候被认为是客观唯心主义者，但事实上他们的意见是非常不同的。直到费尔巴哈以一种唯物主义的观点对黑格尔宏大的形而上学体系提出抨击，从而终结了德国古典哲学。
德国古典哲学具有抽象性和思辩性的特点，它最重大的意义在于从康德开始，世界观发生了巨大转变。世界再也不再是是其所是，理性再不只是被当作法则的附属品所对待，而是转变为由理性为世界立法，世界被认为是由我们的观察所决定的。跟随康德，产生了以叔本华为代表的存在主义；跟随费尔巴哈，产生了以马克思为代表的历史唯物主义，此外分析哲学、现象学等等哲学分支，甚至直到哈贝马斯都受到了德国古典哲学的重大影响。——引自维基百科
编剧: 丹尼斯·甘塞尔 / Peter Thorwarth / Todd Strasser
主演: 约根·沃格尔 / 詹妮弗·利奇 / 马克思·雷迈特 / 克里斯蒂安妮·保罗 / Frederick Lau
类型: 剧情 / 惊悚
官方网站: http://www.welle.film.de/
制片国家/地区: 德国
语言: 德语
上映日期: 2008-03-13(德国)
片长: 107 分钟
又名: 恶魔教室(台) / The Wave
白鹤且来转载翻译一篇美国观众的影评吧（白鹤英文水平低，翻译的不当之处欢迎指正）。
This might come as no surprise, but Americans and Europeans think very differently about the events preceding WWII. Americans often display indignation and shock at the weak or possibly evil Europeans who allowed their rulers to seize power, while Europeans begrudgingly admit that it happened, but vow they have since evolved and would never follow an authoritarian leader again.
美国人和欧洲人对二次世界大战的见解存在很大分歧，这一点并不令人意外。对于懦弱的欧洲民众曾经对其国家领导人所聚集起的那般邪恶势力视若无睹，美国人一贯表现出极大的义愤与震惊，并且发誓民众一旦醒悟将再也不会重复追随那样的独裁者。
I have seen the manifestation of these beliefs firsthand in classrooms across the world. In teaching American students about the rise of fascism in Europe during the 20th Century, I often come across the same reaction: how could those Europeans be so stupid as to allow (inset fascist ruler) to obtain sovereign control of the country and attempt to exterminate any opposition? European students, on the other hand, believe that since they are now democratic, it would be impossible to be fooled by an autocrat. Both these reactions are significantly ignorant, however, and that ignorance is vividly exposed in Dennis Gansel's film Die Welle (The Wave). This film is the best explanation I know for how Hitler, Mussolini, Lenin, or any other Fascist leader came to power, and serves as the best slap in the face to any who believes their society is above such a possibility.
于世界各地的教室里，我曾亲眼目睹许多存在这种信念的学生。因为给美国学生讲授关于20世纪法西斯主义在欧洲形成的课程，同样的疑惑也多次萦绕我心中：那些屈从于法西斯统治下的欧洲人怎么可以蒙昧地默许他们的独裁者统御整个国家，并且无情地灭绝一切反对或者质疑其统治的人？电影《浪潮》的编剧和导演丹尼斯.冈塞尔生动地揭示了这种可能性是怎样发生的。这部电影精辟地诠释了希特勒、穆斯林极端主义分子、列宁或其他独裁领袖如何铸造起他们的威权；而且给所有那些认为独裁状况不可能再次发生的人不谛于抽了一个响亮的耳光。
The movie, based on the 1981 book The Wave, tells the story of a German teacher named Rainer Wengar who is assigned to teach a week-long class on autocracy. He encounters boredom from his students, all of whom believe they would never succumb to the charisma of a dictator. In an attempt to engage the students and test their theory, Wengar begins the next class with a demonstration of what unity and working together can achieve. While sacrificing some individuality, the class begins to see the benefits and begins calling themselves Die Welle (translation: The Wave), complete with uniforms and a salute. With encouragement from Mr. Rainer, the activity escapes the classroom and begins consuming the whole school. Attendance, grades, and school pride rise as Die Welle members enjoy celebrity status among their peers, and non-members begin to feel the effect of not being in the inner circle.
这部电影改编于1980出版的一部同名小说。书中讲述了一位德国中学教师瑞纳.温格由校长安排给学生们讲授一周的关于分析专制独裁统治的课程。最初，几乎所有的学生都表示他们绝不会屈从于一个独裁者的统治。温格老师为了证实这种理论实施的可能性，在下一节课时号召同学们大家统一意志、齐心协力可以达成更高的目标，并且将个别存不同意见的同学赶出了教室。（平日自由散漫惯了的）少年们为这个新鲜的主意而感到欢欣鼓舞。在老师的启发下，学生们开始视自己的班级为一个紧密的团体，起名为“浪潮”，设计了团体标志，全班同学都穿上白衬衫和蓝色牛仔裤上课作为他们的制服，并引以为自豪。所有这些特殊的举动在整个校园里引起瞩目，其他班级的学生也对此发生兴趣，踊跃加入“浪潮”组织，并引为自豪。而不热衷于参与“浪潮”活动的同学则逐渐感到自己被视为“异类”，被大部分人冷落，成为被主流排斥的边缘人物。
After violence erupts against non-Welle members at a school water-polo game, Wengar realizes he has lost control of the week-long project. The movement has taken over the lives of the students, one of whom—a boy named Tim—declares himself his personal bodyguard and begins sleeping in front of Wengar's home. Frightened by the dedication to Die Welle and the violence it causes, Wengar calls the students together to end the project. In exposing his ruse, however, Wengar unintentionally initiates a series of shocking reactions from students who are now unable to give up their newfound solidarity, ending the movie with a stunning conclusion.
不久，在与外校举行的一次水球比赛时，“浪潮”组织的学生与非“浪潮”学生产生了暴力冲突，至此温格老师意识到他设计的一周为限的“试验”已开始失控。但此时，“浪潮”运动成为学生们生活中的一件大事，欲罢不能。其中一名男同学蒂姆甚至为之痴狂到紧密追随温格老师，宣称他自己是温格老师的私人保镖，连夜晚都睡在温格老师的家门口不肯离开。随着浪潮和非浪潮“派”学生之间的冲突愈演愈烈，温格老师在课堂上宣布这个试验活动到此结束。出乎意料的是，短短几天的精神蛊惑和兴奋感已经使一些学生深陷其中难以自拔，影片的结尾令人震撼不已。（蒂姆同学持手枪、吞弹自杀，温格老师被警察带去警局……）
Throughout the film, writer and director Dennis Gansel manages to show both understanding and judgment against those who helped elevate Fascist leaders to power. He demonstrates the power of uniformity in purpose, and the undeniable allure of belonging to a community and movement. During Wengar’s project, the student's lives and work do seem improved. The perpetual outcast, Tim, is finally included by his peers; the boy's water polo team begins playing aggressively as a unit; the listless students are actually excited to come to school. While there are a few who dislike the changes, they are quietly dealt with and the parade marches on. At first, Gansel paints such a favorable picture that we actually want to be a part of the project. It's exciting, effective, and inviting.
贯穿全片，编剧和导演冈塞尔用意菲浅地演示了法西斯主义的领袖怎样一步步建立起他们的威权，怎样利用集体主义招牌蛊惑人们对于一个特定的组织产生归属感，并丧失抵御能力地投入其发起的任何一种运动。在温格老师的试验期间，表面上看同学们的生活习惯和学业确实取得了一些进步。蒂姆也得到了同伴们的认可，学生水球队团结一致增强了比赛获胜的信心。学生们对于走进课堂充满期待和兴奋…… 而少数不喜欢这种做法的同学则陷于孤立，他（她）们的反对已无法阻止整个事态的进程。导演冈塞尔描绘了一幅如此引人入胜的画面：把作为观众的我们也带进了温格老师的课堂试验，让我们感受到“专制制度”初始的号召力，和它带给人们精神上的亢奋和行动上的效率。
The irony, of course, is that the audience is being drawn into the same mindset they either dismissed as impossible or scorned. Like the students, we willingly follow the autocrat we professed to hate, embracing that which we despise. When Wengar exposes what has happened to his students, Gansel slaps us in the face for exhibiting the same ignorance. Gansel forces all his viewers to face their assumptions, and makes them take a good hard look at their ignorance.
颇具反讽意义的是，观众会不自觉地一步步被“集体”的价值观感染、认同——即使那种制度是你以前多么的嗤之以鼻、不屑一顾的，你会发现，我们和影片中的学生别无二致。我们准备去追随我们蔑视过的独裁者，肯定我们过去否定的信念。当温格老师触发了学生们行为和意识的变化，导演冈塞尔也给了观众当头一个棒喝，让我们深刻地意识到我们自身潜意识里的盲目和愚钝。
Given the recent political upheaval across the world, it is more crucial than ever to expose this ignorance. As tyrants are being overthrown and the Arab Spring is in full bloom, democratic countries are congratulating themselves on their superior governments and denouncement of dictators, thinking the “civilized” world has evolved past autocracy. Yet in an election earlier this month, the fascist party in Greece received about 7% of the vote, up from approximately 1% the previous election. While the possibility of a dictatorship remains unlikely, it is dangerous to consider it impossible. If it does arise, our ignorance will blind us; by the time we realize that we are engaged in fascist activity, it may be too late.
鉴于如今世界上种种动乱频生，我们比任何时候都需要更加重视和警惕愚昧的盲动性。独裁专制制度正在被更多国家的人民摒弃，阿拉伯之春的民主意识正在更多国家的民众中苏醒，民主国家的民众期待着文明、民主会逐步取代所有的专制独裁统治……不过，就在前一段时间希腊的选举中，希腊的法西斯党获得了百分之七的选票，高过上次选举中的百分之一。即使法西斯主义仍然明显地被多数人唾弃，但我们不可掉以轻心，一旦法西斯主义变幻形式发生，我们的盲从将遮住我们的眼睛，等到我们认清事实的真相，恐怕为时已晚、木已成舟。
For Americans, to mock and deride those who succumb to dictatorial rule is also dangerous and probably evil. To think an entire population is idiotic and foolish is uncaring and unchristian. Christ calls us towards understanding and love for our neighbors. To belittle and ignore the needs that lead people toward autocratic rule will not lead to love, but hate; not to humility, but to pride. As incarnate souls made in the image of God, such people demand respect and love. Feelings of superiority and haughtiness do not serve those demands; they remain evil.
作为美国人，以嘲笑和轻蔑的态度看待独裁制度下的人民也是危险甚至恶毒的。你不能把所有和我们持不同信仰的人视为愚蠢的民族。基督劝导我们试图理解和热爱我们的邻居们。藐视别人不能带来友爱，只能带来仇恨；采取傲慢而不是谦逊的态度只能伤害别人。正常人类中的每一位成员都需要得到爱和尊重。自以为是、桀骜不驯不会满足对于爱和尊重的需求，只能导致邪恶对抗的发生。
I find it necessary to note: I, and Gansel, do not oppose single-ruler governments (autocracies) as evil and broken forms of government in and of themselves. Remember, the New Jerusalem will be ruled not by a democracy, but by a single, perfect ruler. As the movie reveals and as history has generally told us, the danger of autocracy lies in the abandonment of reason for blind obedience to a leader who, if disobeyed, has complete and unchecked power to dispose of offenders. Given humanity’s imperfect and corrupted sinful nature, to entrust any one person with complete power is incredibly dangerous. Given man’s proclivity towards anger and malice, autocracy remains one of the most potentially evil forms of government in the world.
我认为有必要表明：我和冈塞尔都并非认定所有的专制政府本身都是邪恶或者荒谬的。请记住，新耶路撒冷也不会施行民主制度，而是由一位完美的领导者所统领。正如这部电影所揭示的，以及历史通常告诉我们的一样，独裁者的危险性在于用谎言欺骗臣民们绝对服从于他，无条件地行使绝对权力，并消灭所有持异见者。由于人性的不完美和腐败的天性，崇信任何拥有绝对权力的个人都是极其危险的。也由于人类对于愤怒和怨恨的倾向性，专制制度仍然是当今世界上最具危害性的政府体制。
The insight offered by Die Welle could not be more timely or needed. Gansel aptly lays out the blueprint for how a society that strongly opposes dictatorial rule could rapidly become a dictatorship. It serves as a warning that, given the right stimulus, no society is immune from the allure of fascism. Yet he also lays out the groundwork for understanding those who do submit to bad autocrats. He shows why charity is necessary, both before the rise of fascism and after. Anyone studying World, United States, or European history, or anyone who wishes to love people more needs to watch it, and afterwards ask the hard questions it raises. We should not remain in ignorance, exposed to very serious potential danger.
《浪潮》这部电影的洞察力和深刻性是跨越时代的。冈塞尔巧妙地展示了一个强壮的反独裁群体如何快速地转向而成为独裁的崇拜者。给予一个社会群体利益的允诺和乐观的激励，很少有人能拒绝这样的诱惑。无论是在法西斯主义的兴起之时或衰落以后，慈善和怜悯都是必不可缺的。无论哪一位有心学习和了解世界历史、美国或欧洲的历史，或者任何一位对人类报以热爱愿望的人都有必要观看这部电影，而在看过以后更需要严肃地扪心自问，千万不要让盲从蒙住我们的眼睛。那样会引发非常严重的、潜在的危害降临。
