skip to content

Module options

Faculty of Modern and Medieval Languages

 

FSS Ecologies: Ecologies and Documentary Moving Images

Ecologies and Documentary Moving Images

Course Convenor: Dr Laura McMahon, Centre for Film & Screen Studies and Section of French

How does contemporary documentary cinema address questions of ecologies and human-nonhuman relationality? And how are these works shaped by the pressures of environmental crisis and related concerns about scarcity, precarity and forms of life ‘beyond the human’? The primary focus of this module is not the recent ‘green wave’ of eco-docs and activist documentary (examined by John H. Duvall and others) but rather an international corpus of experimental documentaries emerging in this area, including work by James Benning, Rose Lowder, Nikolaus Geyrhalter, John Akomfrah, Wang Bing, and Lucien Castaing-Taylor and Véréna Paravel. These works complicate the historically habitual relation between ecologies and the documentary moving image, refusing to render nature as spectacle while also problematising ways of knowing the beings and environments that they frame. Drawing on theorisations of the ecological, the biopolitical and the energy economies of cinema, as well as recent re-readings of classical film theory via an ecological perspective, the module examines issues of capital, resource and vulnerability as they intersect with formal questions of space/landscape, temporality and materiality. While tracing connections between these works and ecologically-oriented debates that are shaping contemporary film theory and the humanities more broadly (e.g. ecocriticism, posthumanism, critical animal studies), we will ask what the documentary moving image – and its particular claims on the real – contributes to these debates.

 

Preliminary Reading:

  • André Bazin, ‘The Ontology of the Photographic Image’, What is Cinema?, vol. 1, ed. and trans. Hugh Gray (University of California Press, 1967), pp. 9–16
  • Nadia Bozak, The Cinematic Footprint: Lights, Camera, Natural Resources (Rutgers University Press, 2012)
  • Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (University of Minnesota Press, 1997)
  • Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (University of Minnesota Press, 1987)
  • Jacques Derrida, The Animal That Therefore I Am, trans. David Wills, ed. Marie-Louise Mallet (Fordham University Press, 2008)
  • Michel Foucault, Society Must Be Defended: Lectures at the Collège de France, 1975–76, trans. D. Macey, ed. M. Bertani and A. Fontana (Picador, 2003)
  • Alexandra Juhasz and Alice Lebow (eds), A Companion to Contemporary Documentary Film (Wiley Blackwell, 2015)
  • Claire Jean Kim, Dangerous Crossings: Race, Species and Nature in a Multicultural Age (Cambridge University Press, 2015)
  • Scott MacDonald, ‘Toward an Eco-Cinema’, ISLE: Interdisciplinary Studies in Literature and Environment, 11:2 (2004), 107–132.
  • Robin L. Murray and Joseph K. Heumann, ‘Contemporary Eco-Food Films: The Documentary Tradition’, Studies in Documentary Film, 6:1 (2012), 43–59
  • Jean-Luc Nancy, After Fukushima: The Equivalence of Catastrophes, trans. Charlotte Mandell (Fordham University Press, 2015)
  • Anat Pick and Guinevere Narraway (eds), Screening Nature: Cinema Beyond the Human (Berghahn, 2013)
  • Manuel Ramos-Martinez, ‘The Oxidation of the Documentary’, Third Text, 29:1–2 (2015), 1–13
  • Stephen Rust, Salma Monani and Sean Cubitt (eds), Ecocinema Theory and Practice (Routledge, 2012)
  • Nicole Shukin, Animal Capital: Rendering Life in Biopolitical Times (University of Minnesota Press, 2009)
  • Belinda Smaill, Regarding Life: Animals and the Documentary Moving Image (SUNY Press, 2016)
  • Paula Willoquet (ed), Framing the World: Explorations in Ecocriticism and Film (University of Virginia Press, 2010)

[Back to Modules]