In Focus: Film and Media Studies in the Anthropocene

Peterson, Jennifer Lynn; Uhlin, Graig

doi:10.1353/cj.2019.0006

Cited by 17 publications

(3 citation statements)

References 3 publications

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“…The past two decades have seen significant natural hazard‐driven events, ranging from the Indian Ocean tsunami in 2004 through to recent climate‐influenced catastrophes such as Hurricane Maria in 2017. Aligned with similar observations regarding the role of 9/11, some have argued that ‘the Anthropocene provides an opportunity to reconceptualize cinema and media history’ (Peterson and Uhlin, 2019, p. 144). As the public's understanding of the climate crisis evolves, new anxieties may emerge and be of interest to filmmakers.…”

Section: Literature Reviewmentioning

confidence: 83%

The landscape of disaster film, 2000–20

Montano

Carr

2022

Disasters

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The general public's understanding of disasters is influenced by the portrayal of such events in popular culture. Disaster films have remained a core attraction in this regard. A systematic assessment of the most recent disaster film cycle (that is, from January 2000–December 2019) is warranted, therefore, to gain insights into the current landscape of the genre and to comprehend better the imagery that people encounter onscreen. This study evaluated 173 disaster films and found that most depict natural hazards and global catastrophes despite films about monsters and smaller‐scale disasters being the most popular. It provides a foundation for future research on the relevance of disaster films to disaster scholarship and emergency management practice. And it offers a starting point to analyse the role of disaster films in shaping the meaning and experience of disasters, generally, and the layperson's understanding of disasters and emergency management, including expectations of responder agencies and organisations.

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Section: Literature Reviewmentioning

confidence: 83%

The landscape of disaster film, 2000–20

Montano

Carr

2022

Disasters

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“…As this scholarship shows us, boundaries between corporate films, state-sponsored documentaries, and commercial entertainment blur when we follow their overlapping creative and administrative personnel, media technologies, visual images, affects and themes. Across formats, platforms, and eras, cinema and mass media have sought to foster an extractive imagination or naturalize extraction as the presumptive backdrop of modern life (Grieveson and McCabe 2011;Peterson 2020;Peterson and Uhlin 2019).…”

Section: Prevalence Of "Petrocultures"mentioning

confidence: 99%

Media and extraction: A brief research manifesto

Jaikumar

Grieveson

2022

Journal of Environmental Media

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This short essay is a polemical exploration of recent scholarship on media and resource extraction, with remarks on the necessary revisions this work entails to the purview and practice of studying cinema and media. Drawing on emergent works that elucidate the significance of media’s embeddedness in extractivist logics, we reflect on the ideas that propel them and the future conversations we hope they will provoke. As old disciplinary configurations no longer fit the task of understanding the technological instrumentalization of life in the face of climate breakdown, we consider the ways in which reckoning with modernity’s dependence on extractive industries and modes of labour reformulate media histories, the disciplinary study of media objects, our horizons of thought and our ways of being.

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“…In the wake of Peters's call, the weather (Randerson, 2018), climates (Cahill et al, 2022), air (Horn, 2018), seawater (Jue, 2020) and even the Earth itself (Russill, 2017) have been reclaimed and interrogated 'as mediums' , whilst, meeting these readings halfway, media studies has increasingly attended to the chemicals, minerals and compounds that make up media infrastructures and technologies (Parikka, 2015;Mattern, 2017), as well as to the "environmental implications" of their decay (Cubitt, 2017).1 Parallel to this, the ever-growing field of 'ecocinema' (Willoquet-Maricondi, 2010;Rust et al, 2013) has turned to cinema's dependence on natural resources (Bozak, 2012), the building of artificial weather-worlds (McKim, 2013;Fay, 2018), and cinema's engagement with nature, the nonhuman and the environment more broadly (Ivakhiv, 2013;Narraway and Pick, 2013;O'Brien, 2018;Peterson & Uhlin, 2019;Guan & O'Brien, 2020).…”

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confidence: 99%

Elemental World Cinema

Luca

Mroz

2023

Stud. World Cine.

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Recent ecocritical strands of thought have proposed a conceptualisation of the environment on the basis of its elemental constitution rather than an amorphous 'nature' supposedly divorced from humans (Macauley, 2010;Cohen & Duckert, 2015;Peters, 2015). In this burgeoning 'elemental ecocriticism' , the classical elements -earth, air, fire and water -reappear as objects of sustained philosophical enquiry and as concrete entities with which to recalibrate our interaction with the environment in the so-called Anthropocene. As David Macauley (2010: 2) suggests, we sensuously encounter (and domesticate) earth, air, fire and water on a quotidian and often distracted basis; to reanimate these elements can therefore "make us aware of the complexand sometimes very necessary -mediations that exist between us and the environment".In his influential The Marvelous Clouds: Toward a Philosophy of Elemental Media (2015), John Durham Peters takes this idea one step further. He notes that the current conception of media as informational and communicative message transmitters obscures the fact that, up until the nineteenth century, medium widely designated earth, air, fire and water as dynamic vessels and

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In Focus: Film and Media Studies in the Anthropocene

Cited by 17 publications

References 3 publications

The landscape of disaster film, 2000–20

The landscape of disaster film, 2000–20

Media and extraction: A brief research manifesto

Elemental World Cinema

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