Journalism and Media Studies Centre, The University of Hong Kong
Nature Films vs. Critical
Environmental Documentaries
Media, Politics and the
Environment
Miklos Sukosd
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films
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Documentary film claims to represent reality
“Representation of reality”: realism (recording, documentation)
“Representation of reality”: objectivity (detachment, journalistic
accuracy, scientific objectivity)
Integrity of filmmaker as guarantee of realism and objectivity
Nature film at “crossroads of science, popular education, art and
business” (Vivanco, 2002)
Key functions are children’s education and adults' entertainment
Such documentaries are BOTH educational tools and market
commodities
Do they represent “reality”
How does commodification impact nature films?
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films
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Assumption: "Wildlife and natural history films are
environmentally committed documentaries” (Vivanco,
2002, referring to Bouse, 2000)
Structure, topics, narratives from other (human) film
genres
Produced in competitive media markets to capture
audiences, to create profit
“Fakery of simulated spectacle and the objectivity of
science”
Fantasy world: camera tricks (slow motions, frog eye,
etc.)
Lighting and colors adjusted for aesthetic pleasure
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films
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Cutting out references to presence of human life
(electricity poles, cars, etc.)—like in a costume drama
Cutting out context: safari tourists,
documentation/context of filmmaking
Using music and stock sounds
De-familiarizing nature and Earth
Creating a beautiful dream world without people
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films
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Dramatic framework, narrative: from human stories
Fictionalized narratives
Anthropomorphization of animal families and individuals
Monogamy, responsible parenting, work ethic, late
gratification, gender division of labor
Moral values (responsibility, good/bad) implied regarding
animals
Violent (bloody) and explicit sexual scenes “censored”
Narrative conventions from mainstream Hollywood films
(Bouse 2000)
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films: Planet Earth
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Main question of nature films: “What is nature good for?
What is it worth?”
Plant Earth answer: “Nature is good looking at.” (Richard
Beck: Costing Planet Earth, 2010)
Planet Earth (original BBC television series) cost GBP16
Million
Early nature films: feeding animals and animals’ fight
Terrier vs. Wildcat (1906): “animal pornography”
Visual pleasure of watching cruelty and torture of
animals (Bouse 2000)
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films: Planet Earth
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Predation: no coherent interpretation
Threatening (wolves, lions, shark) and
beautiful, “visual delight” (dolphins, cheeta)
(Beck, 2000)
21st century eco-cide: “No more spectacle.”
Species are disappearing at increasing rate
Visual representation: human-like animal
families and individuals
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Journalism and Media Studies Centre, The University of Hong Kong
Nature films: Planet Earth
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Filmmakers go after visual pleasures
Utilizing and usurping remaining spots for profits
What remains? “Last wilderness”
Museum of images instead of wildlife
“But visual splendor is a poor index of the health of
Earth”s ecosystems.” (Beck 2010)
Representation in film vs. real trends of consumer
capitalism as the cause of environmental crisis
Nature films: documentation or aesthetic lies?
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Journalism and Media Studies Centre, The University of Hong Kong
Critical environmental documentaries
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Focus on environmental problems and human
action as their cause
Nature films: implicit, hidden ideology of visual
aesthetic pleasure
CED: more or less explicit social criticism
Degree and target of criticism changes
Globalization; humankind; industrialization;
urbanization; capitalist corporations
Visual DISpleasure; disturbing images of harm
Global climate change is key issue
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Journalism and Media Studies Centre, The University of Hong Kong
Darwins’ Nightmare (2005)
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Devastating impact of Nile perch to Lake
Victoria in Africa from 1960s
Predatory fish kills other species
Social issues: poverty of fishermen
AIDS and prostitution
Guns from Europe for civil war
External predatory fish symbolic of external
predatory global powers
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Journalism and Media Studies Centre, The University of Hong Kong
Golden age of documentaries
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CED genre grows because of limited mass
media exposure of env issues
The End of Suburbia (2006)
Car-based consumer culture in suburbs
unsustainable
American Dream based on cheap oil, high
consumption and suburban living will collapse
Fuel (2008)
Many faces of oil dependence
Positive: Ways out to green living
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Journalism and Media Studies Centre, The University of Hong Kong
An Inconvenient Truth (2006)
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Antecedent: Too Hot to Handle (2006) HBO
documentary
An Inconvenient Truth (2006)
Gore’s impressive lectures
Science data + visual representation (melting
glaciers; future rising sea level)
Sympathetic personal portrait: responsible policy
maker
Personal stories: childhood; loss of sister to
smoking-related lung cancer (in tobaccoproducing family)
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Journalism and Media Studies Centre, The University of Hong Kong
An Inconvenient Truth (2006)
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End of movie: showing small ways of
individual consumer action and collective
political action
Huge audiences and agenda setting impact
Promoted by activist groups
Academy Award and Nobel Peace Prize
(2007)
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Journalism and Media Studies Centre, The University of Hong Kong
The 11th Hour (2007)
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Leonard DiCaprio: overview of the Earth’
several crises
Threats to the survival of human species
Footage from 50 environmental experts
Depletion of ocean resources, deforestation,
desertification, fossil fuel overuse, epidemics
Convergence of crises
Criticism of divided political class
1970s Republicans Democrats worked
together on environmental legislation
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Journalism and Media Studies Centre, The University of Hong Kong
Earth 2100 (2009)
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Oil dependence -- 2015
We are the frogs -- 2040
Population explosion -- 2060 -- 2070 –
After the flood – 2084
Vision for 2100
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