Green Film Criticism and Its Futures

Ivakhiv, Adrian

doi:10.1093/isle/15.2.1

Cited by 49 publications

(14 citation statements)

References 34 publications

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“…The term apocalyptic is defined as a catastrophic event or destruction, usually involving human deaths and widespread destruction of land or the urban environment (Walliss 2014;Weaver 2009). Apocalyptic narratives have included a representation of nature gone awry through human actions (Ivakhiv 2008) and perceived as a kind of punishment or the result of nature taking revenge (Dürbeck 2012). Napier (2001b) suggests that in many works of anime, much of the narrative tension is not from waiting for the end of the world but from the revelation of how and why the world should end.…”

Section: Apocalyptic (Dystopian) Landscapesmentioning

confidence: 99%

Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films

Mumcu

Yılmaz

2018

Arts

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Common dualistic thinking in environmental design education adopts humans and the environment as separate entities, with the environment as raw material stock. This approach affects the intellectual development of landscape architects and limits their ability to create meaningful landscapes. Therefore, it is necessary to explore and highlight new ideas about the more integrated human-environment relationship. Through the films of Hayao Miyazaki, many audiences around the world have encountered a different worldview. By contrast with Western thinking, which adopts human superiority to nature, the worldview that Miyazaki reflects in his films depicts human as an inseparable part of nature. Being inspired by different communities and their relationship to nature in Miyazaki's films, we propose using anime as a means of analyzing the human-environment relationship. We classified landscapes based on power relations between humans and nature. We explored how communities shape their physical environment based on how they socially construct nature and the resulting landscapes. Thus, through apocalyptic landscapes, the bitter results of exploiting nature were depicted. Wilderness landscapes reflect the bias humanity has about nature as wild and hostile. Responsible landscapes were introduced asway of understanding the unbreakable bond between humans and the environment. Through these animated landscape types, the ways landscape architecture should approach nature in professional practices was discussed, and the importance of creating responsible landscapes was emphasized.

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Section: Apocalyptic (Dystopian) Landscapesmentioning

confidence: 99%

Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films

Mumcu

Yılmaz

2018

Arts

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“…To date, we neither have evidence to sustain a claim that there has been green rejuvenation in the top business movie listings nor indeed any clear sense of appropriation of green counterculture (Desmond, McDonagh, and O'Donohoe 2000) in this regard. In this respect, the authors seek to redress Ivakhiv's (2008) observation with their simple efforts to have the top ten greatest business movies cast in a clearer ecological light. The authors submit that, in a sense, it helps them understand these works in a fresh new way and to realize how in this age the business movie can best be seen as a branch of the study of nature itself; the authors can perhaps think of them as representing the spectacle of the DSP.…”

Section: Screeningmentioning

confidence: 99%

“…Al Gore's An Inconvenient Truth), or an undisputed authority such as David Attenborough's Life on Earth series for the BBC. Ivakhiv (2008) also remarks that over the past six years, we have seen environmental themes in experimental cinema, which are extensively explored in Scott MacDonald's The Garden in the Machine. In addition, as pointed out by Mayumi, Solomon, and Chang (2005, 2), other forms of movie genre, namely animation have addressed the ecological question:…”

Section: Screeningmentioning

confidence: 99%

Screening Not Greening: An Ecological Reading of the Greatest Business Movies

McDonagh

Brereton

2010

Journal of Macromarketing

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This article submits that filmic representations of the market are important points for consideration in macromarketing scholarship. As such business movies visualize the marketplace that has itself been recently termed the agora in this journal. The top ten greatest business movies as selected by a panel of experts for Forbes magazine are considered from an ecological point of view (POV). The authors submit that the dominant social paradigm (DSP) is the culture within the movies and as such the business movie does not generally present business and/or materialism in an ecologically benevolent manner. The authors remark on the consequences of this for the future.

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“…As I have argued elsewhere (Ivakhiv 2008), Brereton's assessment of Spielberg's films underestimates the disfincfion that Ernst Bloch makes between 'abstract' and 'concrete' utopias. In his three-volume magnum opus.…”

mentioning

confidence: 97%

Cinema of the Not-Yet

Ivakhiv

2011

JSRNC

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Drawing on Ernst Bloch's writings on utopia, Michel Foucault's notion of heterotopia, and the 'affective turn' in social theory, I argue that cinema is by its nature heterotopic: it creates worlds that are other than the 'real world' but that relate to that world in multiple and contradictory ways. The landscapes and people portrayed in film are affectively charged in ways that alter viewers' relationship to the real objects denoted or signified by them. But it is the larger context of social and cultural movements that mobilizes or fails to mobilize this affective charge to draw out its critical Utopian potentials. I examine four films from the 1970s-Deliverance, The Wicker Man, Jonah Who Will Be 25 in the Year 2000, and Stalker-as examplesof richly heterotopic films that elicited Utopian as well as dystopian affects in their audiences, and I discuss some ways in which American environmentalists, British Pagans, Europe's 'generation of '68', and Soviet citizens worked with these affects to imagine change in their respective societies.

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Green Film Criticism and Its Futures

Cited by 49 publications

References 34 publications

Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films

Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films

Screening Not Greening: An Ecological Reading of the Greatest Business Movies

Cinema of the Not-Yet

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