This book presents an ecophilosophy of cinema: an account of the moving image in relation to the lived ecologies – material, social, and perceptual relations – within which movies are produced, consumed, and incorporated into cultural life. If cinema takes us on mental and emotional journeys, the author argues that those journeys that have reshaped our understanding of ourselves, life, and the Earth and universe. A range of styles are examined, from ethnographic and wildlife documentaries, westerns and road movies, sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Malick, and Brakhage, to YouTube’s expanding audio-visual universe.

In Moving Environments: Affect, Emotion, Ecology, and Film, international scholars investigate how films portray human emotional relationships with the more-than-human world and how such films act upon their viewers’ emotions. Emotion and affect are the basic mechanisms that connect us to our environment, shape our knowledge, and motivate our actions. Contributors explore how film represents and shapes human emotion in relation to different environments and what role time, place, and genre play in these affective processes. Individual essays resituate well-researched environmental films such as An Inconvenient Truth and March of the Penguins by paying close attention to their emotionalizing strategies, and bring to our attention the affective qualities of films that have so far received little attention from ecocritics, such as Stan Brakhage’s Dog Star Man. The collection opens a new discursive space at the disciplinary intersection of film studies, affect studies, and a growing body of ecocritical scholarship. It will be of interest not only to scholars and students working in the field of ecocriticism and the environmental humanities, but for everyone with an interest in our emotional responses to film.

Looking at film through its communication properties rather than its social or political implications, this work draws on the tenets of James J. Gibson's ecological theory of visual perception and offers a new understanding of how moving images are seen and understood.

Rivers host vibrant multispecies communities in their waters and along their banks, and, according to queer-trans-feminist river scientist Cleo Wölfle Hazard, their future vitality requires centering the values of justice, sovereignty, and dynamism. At the intersection of river sciences, queer and trans theory, and environmental justice, Underflows explores river cultures and politics at five sites of water conflict and restoration in California, Oregon, and Washington. Incorporating work with salmon, beaver, and floodplain recovery projects, Wölfle Hazard weaves narratives about innovative field research practices with an affectively oriented queer and trans focus on love and grief for rivers and fish. Drawing on the idea of underflows—the parts of a river’s flow that can’t be seen, the underground currents that seep through soil or rise from aquifers through cracks in bedrock—Wölfle Hazard elucidates the underflows in river cultures, sciences, and politics where Native nations and marginalized communities fight to protect rivers. The result is a deeply moving account of why rivers matter for queer and trans life, offering critical insights that point to innovative ways of doing science that disrupt settler colonialism and new visions for justice in river governance.

From the Flint water crisis to the Dakota Access Pipeline controversy, environmental threats and degradation disproportionately affect communities of color, with often dire consequences for people’s lives and health. Racial Ecologies explores activist strategies and creative responses, such as those of Mexican migrant women, New Zealand Maori, and African American farmers in urban Detroit, demonstrating that people of color have always been and continue to be leaders in the fight for a more equitable and ecologically just world. Grounded in an ethnic-studies perspective, this interdisciplinary collection illustrates how race intersects with Indigeneity, colonialism, gender, nationality, and class to shape our understanding of both nature and environmental harm, showing how and why environmental issues are also racial issues. Indeed, Indigenous, critical race, and postcolonial frameworks are crucial for comprehending and addressing accelerating anthropogenic change, from the local to the global, and for imagining speculative futures. This forward-looking, critical intervention bridges environmental scholarship and ethnic studies and will prove indispensable to activists, scholars, and students alike.

This book explores the emergence of ecological consciousness in the work of contemporary experimental filmmakers. If it can be said that experimental filmmakers are "expanding" the artistic field through an exploration of the potencies, modes of dissemination and performance of the moving image, in the Anthropocene these practices strive for another kind of expansion: to expand our experience of nature. Appending flowers to the film strip or burying it in the ground, inventing observational devices, allowing the camera to be affected by natural forces, engaging one's own filming body in a symbiotic relationship with the environment, reconstituting ecosystems at the moment of projection: the ecologies of experimental cinema presented in this book constitute forms of practice and engagement that awaken a heightened sensibility towards the living world through cooperative links, casting other beings as subjects and agents of filmic processes, and, finally, reshaping the economy of filmmaking. Thus, ecologies of perception, medium, production, and multinaturalism are deployed, contributing to the restoration of our sensory bond with the natural world. Several chapters were translated with the help of artificial intelligence. In each case, the text has subsequently been revised further by the author as well as the translator Charlie Hewison and a professional copy editor.

Destined to transform its field, this volume features some of the most exciting feminist scholars and activists working within feminist political ecology, including Giovanna Di Chiro, Dianne Rocheleau, Catherine Walsh and Christa Wichterich. Offering a collective critique of the ‘green economy’, it features the latest analyses of the post-Rio+20 debates alongside a nuanced reading of the impact of the current ecological and economic crises on women as well as their communities and ecologies. This new, politically timely and engaging text puts feminist political ecology back on the map.

Citizens of networked societies are almost incessantly accompanied by ecologies of images. These ecologies of still and moving images present a paradox of uncertainties emerging along with certainties. Images appear more certain as the technical capacities that render them visible increase. At the same time, images are touched by more uncertainty as their numbers, manipulabilities, and contingencies multiply. With the emergence of big data, the image is becoming a dominant vehicle for the construction and presentation of the truth of data. Images present themselves as so many promises of the certainty, predictability, and intelligibility offered by data. The focus of this book is twofold. It analyses the kinds of images appearing today, showing how they are marked by a return to modern photographic emphases on high resolution, clarity, and realistic representation. Secondly, it discusses the ways in which the uncertainty of images is increasingly underscored within such reiterated emphases on allegedly certain visual truths. This often involves renewed encounters with noise, grain, glitch, blur, vagueness, and indistinctness. This book provides the reader with an intriguing transdisciplinary investigation of the uncertainly certain relation between the cultural imagination and the techno-aesthetic regime of big data and ubiquitous computing. This book was originally published as a special issue of Digital Creativity.

This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.

Pushing Past the Human in Latin American Cinema brings together fourteen scholars to analyze Latin American cinema in dialogue with recent theories of posthumanism and ecocriticism. Together they grapple with how Latin American filmmakers have attempted to "push past the human," and destabilize the myth of anthropocentric exceptionalism that has historically been privileged by cinema and has led to the current climate crisis. While some chapters question the very nature of this enterprise—whether cinema should or even could actualize such a maneuver beyond the human—others signal the ways in which the category of the "human" itself is interrogated by Latin American cinema, revealed to be a fiction that excludes more than it unifies. This volume explores how the moving image reinforces or contests the division between human and nonhuman, and troubles the settler epistemic partition of culture and nature that is at the core of the climate crisis. As the first volume to specifically address how such questions are staged by Latin American cinema, this book brings together analysis of films that respond to environmental degradation, as well as those that articulate a posthumanist ethos that blurs the line between species.