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…mehr
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.
Adrian Ivakhiv is a professor of environmental studies at the Rubenstein School of Environment and Natural Resources, University of Vermont, where he coordinates the graduate concentration in Environmental Thought and Culture. He is the author of Claiming Sacred Ground: Pilgrims and Politics at Glastonbury and Sedona (2001), and of numerous articles in geography, environmental studies, film and cultural studies, and religious studies. His blog, Immanence, can be found at http://blog.uvm.edu/aivakhiv/.
Inhaltsangabe
Table of Contents for Ecologies of the Moving Image: Cinema Affect Nature by Adrian J. Ivakhiv 1. Preface 2. Acknowledgements 3. 1. Introduction: Journeys into the Zone of Cinema 4. Two perspectives on the visual The cinema as cosmomorphic or world making: geomorphic biomorphic and anthropomorphic Stalker as paradigm: Tracking the cinema stalking the psyche The argument Overview of the chapters 5. 2. Ecology Morphology Semiosis: A Process-Relational Account of Cinema 6. The three ecologies of images: material social perceptual Process-relational ontology Perceptual ecologies: How we get drawn into the cinematic world Peircean semiosis: firstness secondness and thirdness Spectacle narrativity and signness Scenes episodes and cinematic impact 7. 3. Territory: The Geomorphology of the Visible 8. Geomorphism in life and in image An initial typology Picturing ""nature"": Landscape aesthetics as socio-natural production Anchoring the filmic world Staking claims and territorializing identities: Making the West Dovzhenko's cinematic pantheism Nature holism and the eco-administrative state Industry existential landscapes and the firstness of things Post-westerns pantheism and the ecological sublime Kinetic landscapes the exhilaration of movement and the differentiation of space Cinematic tourism object fetishism and the global landscape Enframing the world or expanding perception? ""Burn but his books"": Deconstructing the gaze from both ends 9. 4. Encounter: First Contact Utopia and the Becoming of Another 10. The ethnographic paradigm Nanook/Allakariallak and the two-way gaze King Kong's imperial gaze: From ethnographic to cinematic spectacle Upriver journeys hearts of darkness and contact zones Beyond first contact Cinematic holism auto-ethnography and visual sovereignty From the deconstruction of reality to its reflexive reconstruction Green identities: images of choice hope struggle and community 11. 5. Anima Moralia: Journeys Across Frontiers 12. Pointing seeing gazing Animating the image imaging the animate Writing seeing and faking nature Making nature: inter-natural coproductions Animation plasmaticness and Disney Boundary traffic: seeing being seen and the horror of crossing over Animal by analogy: penguins and family values Individual crossings: Bittner's birds Treadwell's bears Sheer becomings: one or several types of packs Boundary strategies: ethics of the contact zone 13. 6. Terra and Trauma: The Geopolitics of the Real 14. Recapitulation of the argument Trauma and the imagination of disaster Strange weather network narratives and the traumatic event The sublime and the Real The eco-imaginary in post-9/11 culture Political ecologies in three dimensions and more Avatar's eco-apocalyptic Zone Toward a Peircian synthesis: aesthetics ethics and ecologics of the image-event Ecology time and the image Ecophilosophical cinema: moving images on a moving planet 15. Afterword: Digital Futures in a Biosemiotic World 16. Appendix: Doing Process-Relational Media Analysis 17. Notes 18. Index
Table of Contents for Ecologies of the Moving Image: Cinema Affect Nature by Adrian J. Ivakhiv 1. Preface 2. Acknowledgements 3. 1. Introduction: Journeys into the Zone of Cinema 4. Two perspectives on the visual The cinema as cosmomorphic or world making: geomorphic biomorphic and anthropomorphic Stalker as paradigm: Tracking the cinema stalking the psyche The argument Overview of the chapters 5. 2. Ecology Morphology Semiosis: A Process-Relational Account of Cinema 6. The three ecologies of images: material social perceptual Process-relational ontology Perceptual ecologies: How we get drawn into the cinematic world Peircean semiosis: firstness secondness and thirdness Spectacle narrativity and signness Scenes episodes and cinematic impact 7. 3. Territory: The Geomorphology of the Visible 8. Geomorphism in life and in image An initial typology Picturing ""nature"": Landscape aesthetics as socio-natural production Anchoring the filmic world Staking claims and territorializing identities: Making the West Dovzhenko's cinematic pantheism Nature holism and the eco-administrative state Industry existential landscapes and the firstness of things Post-westerns pantheism and the ecological sublime Kinetic landscapes the exhilaration of movement and the differentiation of space Cinematic tourism object fetishism and the global landscape Enframing the world or expanding perception? ""Burn but his books"": Deconstructing the gaze from both ends 9. 4. Encounter: First Contact Utopia and the Becoming of Another 10. The ethnographic paradigm Nanook/Allakariallak and the two-way gaze King Kong's imperial gaze: From ethnographic to cinematic spectacle Upriver journeys hearts of darkness and contact zones Beyond first contact Cinematic holism auto-ethnography and visual sovereignty From the deconstruction of reality to its reflexive reconstruction Green identities: images of choice hope struggle and community 11. 5. Anima Moralia: Journeys Across Frontiers 12. Pointing seeing gazing Animating the image imaging the animate Writing seeing and faking nature Making nature: inter-natural coproductions Animation plasmaticness and Disney Boundary traffic: seeing being seen and the horror of crossing over Animal by analogy: penguins and family values Individual crossings: Bittner's birds Treadwell's bears Sheer becomings: one or several types of packs Boundary strategies: ethics of the contact zone 13. 6. Terra and Trauma: The Geopolitics of the Real 14. Recapitulation of the argument Trauma and the imagination of disaster Strange weather network narratives and the traumatic event The sublime and the Real The eco-imaginary in post-9/11 culture Political ecologies in three dimensions and more Avatar's eco-apocalyptic Zone Toward a Peircian synthesis: aesthetics ethics and ecologics of the image-event Ecology time and the image Ecophilosophical cinema: moving images on a moving planet 15. Afterword: Digital Futures in a Biosemiotic World 16. Appendix: Doing Process-Relational Media Analysis 17. Notes 18. Index
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