Journalism and Media Studies Centre, The University of Hong Kong
Fiction films and the
environment
Media, Politics and the Environment
Miklos Sukosd
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Journalism and Media Studies Centre, The University of Hong Kong
Structure of presentation and
discussion
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Introduction
Representation of nature in film
Eco-cinema and eco-criticism
Eco-cinema in Hollywood
Eco-cinema in China
Environmentalism and movie stars
What can activists and journalists do? Cases:
movies with environmental content
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Journalism and Media Studies Centre, The University of Hong Kong
Introduction
•Fiction films: an art form vs. mass media (objectivity and advocacy
based on facts)
•Narrative and characters are fictional vs. documentaries (also an
art form, but based on facts)
•Artistic freedom, complex artistic presentation (including
story/screen-play, directing, camera, actors, cuts, lighting)
•Genres include fantasy, drama, tragedy, tragicomedy, comedy,
crime story, science fiction
•Emotions (love against odds, betrayal, friendship, growing up,
parents and children, getting old/sick, adventures)
•Gender roles reflected and shaped by cinematic representation
•Durable cultural expression of identities (ethnic minority, sexual,
linguistic, religious)
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Journalism and Media Studies Centre, The University of Hong Kong
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Fiction films: art form vs. commercial product (“high” vs.
“mass” or popular culture)
European vs. American traditions of filmmaking
Art form: de-familiarization, novel techniques (e.g., cuts),
symbolism, allegory (China: water or a “backward” village)
Expressing (and overcoming) social and cultural trauma:
colonialism, disasters, migration, intercultural encounters
Popular culture: entertainment, expressing mainstream
value preferences and perpetuate values changes
Popular archetypes and myths (beast from King Kong,
blonde from Marilyn Monroe, etc.)
Film occupies a central part in cultural production in
modernity
Contemporary “cultural studies” and “media studies” are to
a large degree films studies and studies of popular culture
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Journalism and Media Studies Centre, The University of Hong Kong
Representation of nature in film
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Critical aspects of modernization: human and ecological price
Fiction: from subjugation of nature (e.g., hunting) to nature as
utopia of just and sustainable society
Harmonious cohabitation of humans and animals from Tarzan
to Avatar (including dangerous animals)
Ecological consciousness in films?
Intended vs. non-intended environmental content?
Environmental themes central vs. not central in the
plot/visuals?
Roles of journalists to cover fiction films with environmental
content?
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Journalism and Media Studies Centre, The University of Hong Kong
Eco-criticism and eco-cinema
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Ecocriticism in literature: “ecocriticism is the study of the
relationship between literature and the physical
environment” (Cherill Glotfelty, The Ecocriticism Reader,
1996, xviii)
In the age of environmental crisis, theory of art cannot be
blind to ecological matters
“Films criticism ought to be a major constituent of
ecocriticism. In the simplest terms, ecocinema is cinema
with an ecological consciousness.” (Sheldon H. Lu:
Chinese Ecocinema in the Age of Environmental
Challenge, 2009, 2)
Eco-cinema: filmmaking and interpretation/criticism
Eco-cinema: both fiction and documentaries
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Journalism and Media Studies Centre, The University of Hong Kong
Eco-cinema in Hollywood
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Sylvester Stallone plan: Rambo against
environmental criminals: Karen Hirsch Greenpeace
coordinator responds with horror (movie never
materialized)
“The issues are complicated, they’re not supposed
to be black and white” (Green Screen, p. 1)
Environmental hazards (ozone depletion, global
warming, nuclear radiation, toxic pollution) complex
issues
Individual and collective responsibility
NO simple, fast, individual solutions
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Journalism and Media Studies Centre, The University of Hong Kong
Eco-cinema in Hollywood
Hollywood aesthetic strategies may be inadequate?
 Environmentalist criticism of Hollywood
 Lack of correspondence to real world, dissatisfaction
 Melodrama: art form” that seeks dramatic revelation of moral
and emotional truths through a dialectic of pathos and action”
Linda Williams (Green Screen, 2)
1. Melodrama individualizes environmental issues (villains vs.
heroes: a Manichen worldview for blame and responsibility)
[On Deadly Ground, Steven Seagal]
2. The hero solves problem by decisive action, one major act
3. American mythological patterns: from religion (savior, dualism
of God and Evil; hell and paradise) to popular culture
[Terminator 1-3, A. Schwarzenegger], individual solution
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Journalism and Media Studies Centre, The University of Hong Kong
Eco-cinema in Hollywood
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From 1980s: nature movies with morally innocent
communities (native Americans, aborigines,
Neanderthals, children, women, animals, healers, natural
wonders) [Avatar]
Villains: hunters; big business, property developer,
nuclear plant, oil tycoon (bulldozer as representative)
“Us vs. Them” – depolitization?
Responsibility of humanity as a whole?
Audience translation to real life? Reviewer: “desymbolizing” environmental issues to action
Individual character + supporting crowd, public opinion?
Functions of happy end?
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Journalism and Media Studies Centre, The University of Hong Kong
Ecocinema in China
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Social-economic context: voluntarism “victory
over nature” under Mao from 1950s,
Forced industrialization and economism since
1980s, unparalelled in world history
Film examples: pollution of rivers (water in
general), drought, dams vs symbolism of
water as renewal, balanced society, tradition
(bath), opening to the world (ocean)
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Journalism and Media Studies Centre, The University of Hong Kong
Major themes and subjects in
Chinese eco-cinema
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“How the lives of ordinary people are affected by the destruction of
nature and environmental degradation in the rentless processes of
revolution, modernization and industrialization.”
“The effects of urban planning, demolition, and relocation on the lives
of ordinary residents. The fate of migrants in the city.
“The relationship between humans and animals”, including antipoaching in Tibet; story of panda and trainer over many years.
“Projection and description of an organic communal mode of life
distinct from the daily routines of civilized daily folks.” Focus on ethnic
minorities, remote localities, like Inner Mongolia.
“The lives and struggles of people with physical or mental disabilities.”
“A return to religious, holistic thinking and practice and the difficulty of
doing so in a commercialized society” Buddhism, Daoism. (Hu, 7-8)
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Journalism and Media Studies Centre, The University of Hong Kong
Movie stars and environmentalism
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How can movie stars (celebrities) spread
environmental messages on and off the
screen?
Environmental education via ecocinema AND
the commercial mass media?
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Journalism and Media Studies Centre, The University of Hong Kong
Activism, journalism and eco-cinema
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1.
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What can activists and journalists do when
they cover eco-cinema?
What are the ways of environmental
awareness raising?
Framework for environmental activists,
cultural journalists and movie critics
Hero vs. bad guy in melodrama? What does
the protagonist represent?
Who is responsible for environmental
degradation/catastrophy?
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Journalism and Media Studies Centre, The University of Hong Kong
Critical/analytical framework
cont.
3. Science in the movie? Data, concepts, sources
realistic or unreal/fantastic?
4. Environmental discourse in the movie? (Tragedy
of commons; ecological modernization; deep
ecology; eco-feminism, etc?
5. How is the conflict solved? Individual or systemic
solution? Realistic or unreal/fantastic?
6. Artistic/aesthetic value? Directing, acting,
camera, cuts/editing, digital tricks, music
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Journalism and Media Studies Centre, The University of Hong Kong
Critical/analytical framework
for journalists
7. Production: how eco-friendly? (+ budget, etc.)
8. Evaluation: how it could contribute to
awareness raising; pros and cons
9. “Translation to real life”: what can audiences
do?
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