Film and Everyday Eco-disasters

Murray, Robin; Heumann, Joseph K.

doi:10.2307/j.ctt1d9nnk1

Cited by 23 publications

(14 citation statements)

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“…Similarly, both Hughes (2014, p. 126) and Duvall (2017, p. 257) noted that earlier environmental documentaries with their apocalyptic rhetoric gave way to more positive and constructive films that propose viable solutions to ecological problems. Food and its production has been a particularly important topic of politicization in recent years (Mauer 2009;Murray and Heumann 2014;Pilgeram and Meeuf 2015). Hughes (2014, pp.…”

Section: Political Documentary Video Activism and Environmental Documentioning

confidence: 99%

Ecological Citizens with a Movie Camera: Communitarian and Agonistic Environmental Documentaries

Hedemann¹

2019

Social Sciences

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Environmental documentaries attained wider public and academic attention, especially in the aftermath of Al Gore’s prominent documentary on climate change An Inconvenient Truth. Making environmental documentaries is a cinematic form of political advocacy. However, there is a lack of research on the broad range of such films from Germany. While earlier works tended to an accusatory style, newer environmental documentary seems to be more constructive and aiming at spreading information about feasible alternatives. This article pursues three objectives: first, to gain a deeper understanding of the shift from accusatory to constructive documentaries; second, to connect film studies to the political change-making role and therefore to theories of ecological citizenship; and third, to explore the question of what citizenship with a movie camera means. The accusatory and constructive style are associated with agonistic and communitarian ecological citizenship. A sample of two films from the German context, namely Leben ausser Kontrolle produced by Bertram Verhaag in 2004 and Voices of Transition produced by Nils Aguilar in 2012, is analyzed comparatively. The interpretive research method combines methods of studying audio-visual rhetoric with the framing approach from social movement studies.

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Section: Political Documentary Video Activism and Environmental Documentioning

confidence: 99%

Ecological Citizens with a Movie Camera: Communitarian and Agonistic Environmental Documentaries

Hedemann¹

2019

Social Sciences

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“…This article builds on previous research in visual criminology to demonstrate how an emerging "documentary criminology" actively interprets, crafts, and depicts lived experience with ethnographic sensibilities [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18]. Mardi Gras: Made in China is cited as a case study in documentary criminology that crafts and depicts ethnographic knowledge alongside written knowledge [19][20][21][22][23][24][25][26][27][28][29][30][31][32]. Documentary criminology is the practice of using audiovisual methods to interpretively craft lived experience as media; it riffs on and extends cultural criminology's exploration of the situated meaning of experiential crimes and transgressions in their wider context by producing experiences in the form of a documentary.…”

Section: Documentary Criminology: Audiovisual Experience As Sense Makingmentioning

confidence: 99%

Documentary Criminology: Expanding the Criminological Imagination with “Mardi Gras—Made in China” as a Case Study (23 Minutes)

Redmon

2015

Societies

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This paper explores the central role of documentary filmmaking as a methodological practice in contemporary criminology. It draws from cultural criminology to develop emerging, open-ended practices for conducting ethnographically inflected audiovisual research that crafts sensory knowledge from aesthetic experience. First, it demonstrates how documentary criminology is an ethnographic practice that embraces audiovisual technologies to inflect, render, and depict the aesthetics of material, sensory, and corporeal experiences of crime and transgression as knowledge production. Second, it explores a particular type of lived experience that John Dewey terms "aesthetic" to demonstrate the sorts of tangible and intangible entities that documentary criminology can interpret, record and depict as knowledge. To demonstrate this approach, the article employs a variety of examples from cultural criminology and from the documentary Mardi Gras: Made in China. The final part of the paper turns to an analysis of Mardi Gras: Made in China itself to illustrate the overlap of theory, methods, and reflexive practices of documentary criminology within four broad aesthetic domains: temporality, topography, corporeality, and the personal. The inclusion of documentary within an open-ended methodological sensibility, both as a mode of analysis and as a means of producing sensory knowledge, can expand the criminological imagination.

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“…A lot of last minute changes make it difficult to establish a budget for waste management planning, which in turn causes more waste ( [2], pp. [34][35]. My interviewees also mentioned that the large number of freelance workers present challenges for those hoping to embed sustainability initiatives more widely in the industry.…”

Section: Motivations and Challengesmentioning

confidence: 99%

“…Brad Stewart, a communications executive and columnist on social media and green marketing, sees digitalization as a hope for a greener film industry and claims that the industry could expand by moving to a more pervasive distribution model and maintaining a low carbon footprint with a reduction in transport and material costs [34]. Similarly, the ecocritics Robin Murray and Joseph Heumann mention that Slumdog Millionaire and Avatar's digital production represent large steps towards the "greening" of Hollywood ( [35], p. 187).…”

Section: Proposed Solutionsmentioning

confidence: 99%

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Greening the Screen: An Environmental Challenge

Özdemirci

2016

Humanities

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Environmental themes and representations on screen are examined as a part of environmental social studies and can be considered a way of creating awareness of environmental issues. However, how often do we consider the environmental impact of a film or television shoot as an industrial process? In this article, I examine the sustainability practices in the motion picture industry and challenges to that by focusing on the British film and television industry as a case study. Using the interviews with industry representatives and some case studies, I discuss the possibilities of creating a change in behavior in the film industry, not only in terms of embedding green measures but also reconstituting industrial mechanisms on behalf of environmental sustainability.

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Film and Everyday Eco-disasters

Cited by 23 publications

References 0 publications

Ecological Citizens with a Movie Camera: Communitarian and Agonistic Environmental Documentaries

Ecological Citizens with a Movie Camera: Communitarian and Agonistic Environmental Documentaries

Documentary Criminology: Expanding the Criminological Imagination with “Mardi Gras—Made in China” as a Case Study (23 Minutes)

Greening the Screen: An Environmental Challenge

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