Exam 4 Lit and Class Notes Flashcards

1
Q

Antihumanism (Jeffers) ?

A

??

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2
Q

Eco-criticism

A
  • Traced back to British Romanticism, 1780-1830 with poets like Wordsworth, Coleridge, and Shelley
  • Also traced to American Romanticism 1820-1865 with writers like Thoreau and Dickinson
  • Finally evolved into Nature Writing with writers like Dillard and Thoreau
  • looking at non-obvious texts to uncover ecological analysis
  • our relationship to nature isn’t just about gathering data, but about feelings
  • began with explicitly ecological works
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3
Q

Environmental Unconscious (Buell, 2009)

A

a knowledge of interconnectedness or coexistence suggested in a text

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4
Q

Who said “poets are the unacknowledged legislators of the world” and what did they mean by it?

A
  • Percy Shelley
  • Poets shape the world in quiet ways by helping us think differently
  • poetry strengthens the “organ” that makes us moral and gives us empathy; it strengthens the capacity to sympathize/empathize with things different from ourselves
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5
Q

Thinking Like A Mountain (Aldo Leopold)

A
  • Only the mountain can “think” at the appropriate scale and complexity to understand the dynamic balance of interdependent populations necessary to sustain an ecosystem
  • encourages us to think ecologically about how self interest must be regulated by empathy, reciprocity, synergy, and cooperation at higher levels of scale
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6
Q

Being at Home in the World

A

Literature helps us inhabit the world; it reorients us in nature; nature is our home

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7
Q

Climate Change Narratives

A

sci-fi/speculative fiction

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8
Q

Posthumanism

A
  • criticizes humanism
  • humans are part of nature
  • began in the British Romantic period when people began to challenge the assumption that humans are separate from nature
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9
Q

Who wrote Ministry for the Future and when was it published?

A

Kim Stanley Robinson, 2020

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10
Q

What did Kim Stanley Robinson say about science fiction?

A

It is the realism of our time; i.e., science fiction can address contemporary issues that realism cant

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11
Q

What is Robinson’s “Ministry for the Future” about?

A
  • the effects of global warming and a wet bulb event
  • follows Frank May, and aid worker and the only survivor of the wet bulb event in India, and Mary Murphy the director of the Ministry for the Future
  • Frank May = human experience and physical horror
  • Mary Murphy = geopolitics
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12
Q

What is a wet bulb event?

A

when temperature and humidity reach a point where humans cannot sweat to cool themselves; essentially boiling them in their own skin

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13
Q

What is Microcosmos (1996)

A
  • the first nature documentary of its kind
  • snails mating and mosquito birth
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14
Q

What does it mean to say “The Anthropocene is to Natural Science what Cinema is to Human Culture” ? (Fay, 2018)

A
  • it shapes our experience and culture profoundly
  • it shapes popular consciousness
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15
Q

Ecocinematic viewing

A

active viewing; looking at the image and how its been constructed; analyzing mainstream films through the lens of ecological critique in order to reflect on personal experience

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16
Q

When did nature documentaries emerge?

A

mid 20th century

17
Q

Honeyland (2019)

A
  • Documentary directed by Kotevska and Stefanov
  • narrates the life of Hatidze Muratova; an apiarist
  • addressing bees with ecostewardship
  • her knowledge is stolen by a man who exhausts wild bee hives
18
Q

The Silent World (1956)

A
  • Documentary directed by Jacques Cousteau
  • one of the first works of underwater cinematography using submersible cameras
  • the history of image capture is a history of environmental degradation
19
Q

What does cinema foreground? why is this helpful from an environmental standpoint?

A
  • cinema foregrounds the multi-dimensionality of deep time
  • it gives us access to space and perspectives we don’t normally see
20
Q

Ecocinema

A
  • how different genres of film approach the environment
  • the role of cinema in making audiences act
  • reinforce/contest how we view nature
  • how sustainable is the medium?
21
Q

Ecocinema (Sheld Lu, 2019)

A
  • cinema with an ecological consciousness
  • articulates the relationship between human beings and the physical environment, earth, nature, and animals from a biocentric POV
  • form and content
22
Q

Ecocinema (Willoquet, 2010)

A
  • a wider range of films that depict humans in the environment (or just the environment) without explicit activist messages
  • way of seeing
23
Q

Ecocinema Studies (Willoquet, 2010)

A

approaches film broadly to understand how visual representations position nature through the camera frame, editing process, and audiences’ reception of the film

24
Q

Cinema Verité

A

involves a participatory style of ethnographic filmmaking focused on the self-revelation of a film’s subject

25
Q

Ethnographic

A

enacts the theories, approaches, and terminologies of anthropology and sees filmmaking as a research tool

26
Q

Slow (in film)

A

exhibits and austere or minimalist style that employs extended duration to engender a meditative or contemplative mood

27
Q

Slow viewing

A

taking time to view; actively viewing

28
Q

Plant Cinematography

A
  • Timelapse technology to show how plants move
  • stereoscopic polarization
  • makes things visible in time and space
29
Q

Speciesist Camera

A

projects ideologies reflecting species hierarchies on more-than-humans during the filmmaking process

30
Q

Zoomorphic realism

A

represents wild or domestic animals as accurately as possible and with minimal modification

31
Q

Narratology

A

study of narrative structure

32
Q

When did Environmental Film Festivals begin?

A
  • the 1970s
  • International Wildlife Film Festival in Montana is the oldest ecofilm festival