This study examines the construction of the human-nature relationship in the Jungle (2017) movie. Jungle movie presents the mindset and behavior of men through four male characters (Yossi, Marcus, Kevin, and Karl) towards the wild (wilderness) as a masculinity framework. Using a qualitative method with an ecocriticism approach, especially related to ecological masculinity by Hultman and Pulé, this study shows how the construction of human-nature relationships through masculinity framework presents ecological masculinity as a form of hegemonic masculinity negotiation. The analysis focuses on two aspects of film studies: narrative and cinematographic by Bogss and Petrie. The results of this study indicate that in the depiction of nature through the Amazon Forest, nature is positioned as something dangerous, wild, scary, and capable of killing humans. Therefore, nature is represented as an entity that dominates humans. However, men's mindset and behavior towards nature present the illusion of a human versus nature dichotomy; in this case, the Jungle movie tries to present a critique of anthropocentrism. In addition, the mindset and behavior of male characters toward nature represent male masculinity models, especially ecological masculinity, as an alternative to hegemonic masculinity.

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Environmental crisis is one of the major issues that humankind is facing today. The crisis can be discussed through a Christian perspective, as the relationship between Christianity and environment has been long discussed for its complexities. Eco-theology is one of the ways for Christianity to bridge its teaching to the environmental crisis. First Reformed, a 2017 film directed by Paul Schrader, is one of the films depicting the interplay between Christianity and environmentalism. This paper examines how First Reformed portrays the process of reconciling Christianity and environmentalism. Using Jürgen Moltmann’s eco-theological concept and Kierkegaard’s concept of despair, this article discovers that while First Reformed demonstrates the ways Christianity could be both an ally and an enemy of environmentalism, the film’s final message leans more towards the way the church can respond to the crisis through embracing insights and values beyond Christianity’s core doctrine that are more in line with environmental concerns, such as seeing nature as a female figure and the idea of harmony illustrated through a yin-yang symbolism.

The integration of the personal and the political has been an engaging topic in analyses of literary texts by authors whose works are known for their political content and activism, as well as an emphasis on social justice. Literary audiences in the United States have been familiar with Joy Harjo and John Trudell, two well-known contemporary Indigenous poets, who have voiced out the concerns of Indigenous people in the face of colonization and injustice happening in their homeland. Within the fusion of the personal and the political, as well as the mythical, the idea of transformation is paramount for Indigenous authors since to move from the state of being colonized to one of being decolonized, transformation is undoubtedly crucial. This paper focuses on the role of memory and the power of language in the process of transformation in the three poems by Joy Harjo and John Trudell. The analysis uses a qualitative methodology in the form of a close reading of literary texts to uncover the interconnectedness of memory and language in transformation. I argue that Native poets experience personal transformation that is critically influenced by the role of ancestral memory and social and historical consciousness in the broader context of Indigenous people’s struggle and resistance, as well as the power of language to see reality differently and affect its change. The analysis is intended to show to what extent the concepts of memory and language are critical in the process of decolonization and the manners in which these texts can be empowering for both Indigenous and non-Indigenous audiences in response to forms of injustice through the integration of the personal, the political, and the mythical.

The main character of the film Pintu terlarang (The forbidden door), Gambir, attains success in the art world by making statues of pregnant women. Part of his creative process is to insert dead foetuses into the wombs of the statues. His troubled soul meets a written request for help by a child he encounters in various places. The journey to find the child leads him to a secret door, revealing a terrifying reality of a dehumanized world. The city, commonly characterized by a sense of vastness, is set in opposition to small, enclosed spaces where individuals converse with their utmost self. The questions explored are: What is the role of space in engendering urban dystopia? In what ways does the selection of different space settings help create a dehumanized world? I argue that urban dystopia is created when the inhabitants of a city return to enclosed spaces in an effort to find an existence. When individuals prefer enclosed spaces and fail to reconstruct existing meanings, tendencies toward dystopia will come forward and city life will degenerate.