Cubitt Sean - Ecocinema theory and practice
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Ecocinema Theory and Practice is the first collection of its kindan anthology that offers a comprehensive introduction to the rapidly growing field of eco-film criticism, a branch of critical scholarship that investigates cinemas intersections with environmental understandings. It references seminal readings through cutting edge research and is designed as an introduction to the field as well as a sourcebook. It defines ecocinema studies, sketches its development over the past twenty years, provides theoretical frameworks for moving forward, and presents eloquent examples of the practice of eco-film criticism through essays written by the fields leading and emerging scholars. From explicitly environmental films such as Werner Herzongs Grizzly Man and Roland Emmerichs The Day After Tomorrow to less obvious examples like Errol Morriss Fast, Cheap & Out of Control and Christopher Nolans Inception, the pieces in this collection comprehensively interrogate the breadth of ecocinema. Ecocinema Theory and Practice also directs readers to further study through lists of recommended readings, professional organizations, and relevant periodicals.
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THEORY
AND PRACTICE
Psychoanalysis and Cinema
E. Ann Kaplan
Fabrications: Costume and the Female
Body
Jane Gaines and Charlotte Herzog
Sound Theory/Sound Practice
Rick Altman
Film Theory Goes to the Movies
Jim Collins, Ava Preacher Collins,
and Hilary Radner
Theorizing Documentary
Michael Renov
Black American Cinema
Manthia Diawara
Disney Discourse
Eric Smoodin
Classical Hollywood Comedy
Henry Jenkins and
Kristine Brunovska Karnick
The Persistence of History
Vivian Sobchack
The Revolution Wasn't Televised
Lynn Spigel and Michael Curtin
Black Women Film and Video Artists
Jacqueline Bobo
Home, Exile, Homeland
Hamid Naficy
Violence and American Cinema
J. David Slocum
Masculinity
Peter Lehman
Westerns
Janet Walker
Authorship and Film
David A. Gerstner and
Janet Staiger
New Media
Anna Everett and
John T. Caldwell
East European Cinemas
Anik Imre
Landscape and Film
Martin Lefebvre
European Film Theory
Trifonova Temenuga
Film Theory and Contemporary Hollywood
Movies
Warren Buckland
World Cinemas, Transnational Perspectives
Natasa Durovicov and
Kathleen Newman
Documentary Testimonies
Bhaskar Sarkar and Janet Walker
Slapstick Comedy
Rob King and Tom Paulus
The Epic Film in World Culture
Robert Burgoyne
Arnheim for Film and Media Studies
Scott Higgins
Color and the Moving Image
Simon Brown, Sarah Street,
and Liz Watkins
First published 2013
by Routledge
711 Third Avenue, New York, NY 10017
Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
2013 Taylor & Francis
The right of the editors to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
Ecocinema theory and practice / edited by Stephen Rust, Salma Monani, and Sean Cubitt.
p. cm. (AFI film readers)
Includes bibliographical references and index.
1. Environmental protection and motion pictures. 2. Environmentalism in motion pictures. 3. Ecology in motion pictures. 4. Documentary filmsHistory and criticism. 5. Motion picturesUnited States. 6. Ecocriticism. I. Rust, Stephen. II. Monani, Salma. III. Cubitt, Sean, 1953
PN1995.9.E78E26 2012
791.43'6553dc23
2012007629
ISBN: 978-0-415-89942-0 (hbk)
ISBN: 978-0-415-89943-7 (pbk)
ISBN: 978-0-203-10605-1 (ebk)
Typeset in Spectrum
by Keystroke, Station Road, Codsall, Wolverhampton
For Alice and Donovan
and
for Dan and the dogs, who suffer and indulge my passions
and
for Alison, and for Zebedee the wonder dog,
who never sees anything the same way twice.
figures
tables
Thanks to everyone who contributed to making this collection possible, from the authors who have shared their work, to our colleagues and students, and to our editors at Routledge/AFI, who not only saw the timeliness and worth of such a project but have been infinitely patient with the three of us, our demands, our pleas, and our confusions. Thanks too to all those near and dear who endure our preoccupied states of being, and encourage our passions. A special thanks to you, our reader, who we hope will take these embers of ecocinema studies and blaze forward with theory and practice that continues to critically interrogate the intertwined mesh of environment and cinema, and its meanings to our lives and to the more than human world around us.
introduction: cuts to dissolvesdefining and situating ecocinema studies |
stephen rust and salma monani
Ecology, by its very definition, is unrestricted; it is impossible to say where nature stops and culture begins, or vice versa.
Nadia Bozak, The Cinematic Footprint, 15
Wow! That means every and any film can be analyzed ecocritically.
Gettysburg College Environmental Studies Student
From an ecocritical perspective, environment is not just the organic world, or the laws of nature to which Kant counterposed the powers of human reason in the struggle for freedom, or that Nature from which Marx thought we were condemned to wrest our survival; it is the whole habitat which encircles us, the physical world entangled with the cultural. It is an ecology of connections that we negotiate to make our meanings and our livings. In this habitat, cinema is a form of negotiation, a mediation that is itself ecologically placed as it consumes the entangled world around it, and in turn, is itself consumed.
While film and media scholars have always explored cinema's cultural negotiations, until recently ecocritical perspectives have been largely absent in the scholarship. A somewhat remiss tack, since from production and distribution to consumption and recirculation, the cinematic experience is inescapably embedded in ecological webs. Cinematic texts, with their audiovisual presentations of individuals and their habitats, affect our imaginations of the world around us, and thus, potentially, our actions towards this world. In addition, cinema's various technologies, from lights and cameras to DVDs and even the seeming immateriality of the internet, involve the planet's material resources and serve as an indictment of cinema's direct role in transforming and impacting our ecosystems. It is only recently, most notably since the mid-1990s, that a growing number of scholars have begun to critically interrogate cinema's ecological dimensions and their implications for us and the more than human world in which we live.
This book is about such ecocritical interrogations. It draws on the thoughts and ideas of pioneering scholars in the field, such as Sean Cubitt, David Ingram, and Scott MacDonald, and it also accesses more recent voices, such as those of Adrian Ivakhiv and Nicole Starosielski, whose works present exciting new directions in the scholarship. It is very much a collaborative effort, rising out of conversations begun at academic conferences, and continued online through personal communication and on blog sites such as Ecomedia Studies. In harnessing these conversations, Ecocinema Theory and Practice works to bring coherence to the richly burgeoning field of critical attention that is
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