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Documentary Realism in the Anthropocene

image of Documentary Realism in the Anthropocene

The Anthropocene marks an era in which the world as we know it is in the course of being radically altered and destabilized in ways that resist cognitive capture. That has led to a crisis of representation, with writers like Amitav Ghosh labeling realism as unfit to account for contemporary ecological realities. This chapter takes Ghosh's intervention as an entry point to explore the emergent strands of realism in eco-docs, with filmic examples and brief analyses that help elucidate how each operates and responds to the representational challenges posed by the new epoch.

Keywords: Anthropocene ; documentary ; eco-cinema ; haptic ; realism ; speculative

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References

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References

  1. Akomfrah, John (2015), Vertigo Sea, UK: Smoking Dogs Films.
     [Google Scholar]
  2. Armstrong, Samuel, Algar, James, Roberts, Bill, Satterfield, Paul, Luske, Hamilton, Handley, Jim, Beebe, Ford, Ferguson, Norman, Jackson, Wilfred, and Plumb, Edward H. (1940) Fantasia, USA: Walt Disney Productions.
     [Google Scholar]
  3. Arnaquq-Beril, Alethea (2016), Angry Inuk, Canada: National Film Board of Canada and Eye Steel Film.
     [Google Scholar]
  4. Badia, Lynn, Cetinic, Marija and Diamainti, Jeff (2020), ‘Climate realism: The aesthetics of weather, climate and atmosphere in the Anthropocene’, Resilience, 7:2–3, pp. 1–12.
     [Google Scholar]
  5. Baichwal, Jennifer, de Pencier, Nicholas and Burtynsky Edward (2018), Anthropocene: The Human Epoch, Canada: Mercury Films and Seville International.
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  6. Barad, Karen (2007), Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning, Durham, NC: Duke University Press.
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  7. Birks, Chelsea (2018), ‘Objectivity, speculative realism and the cinematic apparatus’, Cinema Journal, 57:4, pp. 3–24.
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  8. Blasi, Gavriella (2020), The Work of Terrence Malick: Time-Based Ecocinema, Amsterdam: Amsterdam University Press.
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  9. Bonnetta, Joshua (2020), The Two Sights, Canada/UK: The Cinema Guild.
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  10. Bonnetta, Joshua and Sniadeki, J. P. (2017), El Mar la Mar, USA: DCP.
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  11. Buchanan, Brett (2008), Onto-Ethologies: The Animal Environments of Uexkull, Heidegger, Merleau-Ponty, and Deleuze, Albany, NY: SUNY Press.
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  12. Buell, Frederick (2003), From Apocalypse to Way of Life: Environmental Crisis in the American Century, New York: Routledge.
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  13. Burelle, Julie (2020), ‘Inuit visual and sensate sovereignty in Alethea Arnaquq-Baril's Angry Inuk’, Canadian Journal of Film Studies, 29:1, pp. 145–62.
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  14. Carroll, Noël (1996), Theorising the Moving Image, New York: Cambridge University Press, pp. 224–52.
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  15. Demos, T. J. (2020), Beyond World's End: Arts of Living at the Crossing, Durham, NC: Duke University Press.
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  16. Diran, Ingrid and Traisnel, Antonine (2019), ‘The birth of geopower’, Diacritics, 47:3, pp. 32–51.
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  17. Elo, Mike (2012), ‘Notes on haptic realism: Digital photography and shifting conditions of embodiment’, Philosophy of Photography, 3:1, pp. 19–27.
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  18. ‘Gaming’ (2019), S. Lloyd and K. McGann (dirs) The World According to Jeff Goldblum, Season 1, Episode 6 (13 December, USA: National Geographic Studios and Nutopia).
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     [Google Scholar]
  20. Gillespie, Michael (2020), ‘Pieces of a dream: Film blackness and Black Death’, in R. Grusin and J. Szczepaniak-Gillece (eds), Ends of Cinema, Minneapolis, MN: University of Minnesota Press, pp. 133–58.137
     [Google Scholar]
  21. Hacking, Ian (1990), The Taming of Chance, Cambridge: Cambridge University Press.
     [Google Scholar]
  22. Herce, Mauro (2015), Dead Slow Ahead, Spain: Nanouk Films, Bocalupo Films and El Viaje Films.
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  23. Herzog, Werner (1992), Lessons of Darkness, Germany, France and UK: Canal+, Première and Werner Herzog Filmproduktion.
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  24. Hurley, Jessica (2017), ‘Impossible futures: Fictions of risk in the Longue Durée’, American Literature, 89:4, pp. 761–89.
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  25. Hurley, Jessica and Sinykin, Dan (2018), ‘Apocalypse: Introduction’, ASAP/Journal, 3:3, pp. 451–66.
     [Google Scholar]
  26. Huxley, Julian (1934), The Private Life of the Gannets, UK: London Film Productions.
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  27. Kara, Selmin (2016), ‘Anthropocenema: Cinema in the age of mass extinctions’, in S. Denison and J. Leyda (eds), Post-Cinema: Theorising 21st Century Film, Sussex: REFRAME books, https://reframe.sussex.ac.uk/post-cinema/. Accessed 19 December 2023.
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  28. Kara, Selmin (2020), ‘The Anthropocene project and the archiviolithic imaginary’, Screen, 61:2, pp. 315–21.
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  29. Kara, Selmin (2022a), ‘Across the sonorous desert: The audiovisual ecology of migration in El Mar La Mar’, in R. Burgoyne and D. Bayraktar (eds), Refugees and Migrants in Contemporary Film, Art and Media, Amsterdam: Amsterdam University Press, pp. 89–107.
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  30. Kara, Selmin (2022b), ‘Ethological realism in Honeyland’, in J. Baron and J. Fuhs (eds), Honeyland: A Docologue, New York: Taylor and Francis, pp. 27–41.
     [Google Scholar]
  31. Kotevska, Tamara and Stefanov, Ljubomir (2019), Honeyland, North Macedonia: Trice Films and Apolo Media.
     [Google Scholar]
  32. Kovacevic, Tamara (2020), ‘Honeyland: Life lessons from Europe's last wild beekeeper’, BBC News, 9 February 2020, https://www.bbc.com/news/entertainment-arts-51401315. Accessed 19 December 2023.
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  33. Kunuk, Zacharias and Mauro, Ian (2010), Qapirangajuq: Inuit Knowledge and Climate Change, Canada: Isuma Productions and Kunuk Cohn Productions.
     [Google Scholar]
  34. Madsen, Michael (2010), Into Eternity, Denmark: Magic Hour Films.
     [Google Scholar]
  35. Malick, Terrence (2011), Tree of Life, USA: River Road Entertainment and Plan B Entertainment.
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  36. Malick, Terrence (2016), Voyage of Time: Life's Journey, USA: IMAX Documentary Films Capital, Knights of Columbus, Broad Green Pictures and Sophisticated Films.
     [Google Scholar]
  37. Malitsky, Joshua (2012), ‘Science and documentary’, Journal of Visual Culture, 11:3, pp. 237–57.
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  38. Marks, Laura (2000), The Skin of the Film: Intercultural Cinema, Embodiment and the Senses, Durham, NC: Duke University Press.
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  39. Mentz, Steve (2015), Shipwreck Modernity: Ecologies of Globalisation 1550–1719, Minneapolis, MN: University of Minnesota Press.
     [Google Scholar]
  40. Mills, Jacquelyn (2022), Geographies of Solitude, Canada: Cinema Guild.
     [Google Scholar]
  41. Mullarkey, John (2013), ‘Animal spirits: Philosomorphism and the background revolts of cinema’, Angelaki: Journal of the Theoretical Humanities, 18:1, pp. 11–29.
     [Google Scholar]
  42. Nishikawa, Tomonari (2014), Sound of a Million Insects, Light of a Thousand Stars, Japan: Tomonari Nishikawa.
     [Google Scholar]
  43. Oh, Rebecca S. (2021), ‘Apocalyptic realism: “A new category of the event”’, ISLE: Interdisciplinary Studies in Literature and Environment, 29:4, pp. 967–86.
     [Google Scholar]
  44. Orlowski, Jeff (2017), Chasing Coral, USA: Exposure Labs.
     [Google Scholar]
  45. Poch, Chantal (2018), ‘“And the earth was without form”: Visual effects and wonder in Terrence Malick's Voyage of Time’, International Journal of Film and Media Arts, 3:1, pp. 1–14.
     [Google Scholar]
  46. Porter, Winslow, and Zec, Milica (2019), TreeVR, USA: New Reality Company.
     [Google Scholar]
  47. Raheja, Michelle (2010), Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film, Lincoln, NE: University of Nebraska Press.
     [Google Scholar]
  48. Sen, Shaunak (2022), All that Breathes, India, UK, and USA: HBO Documentary Films, Rise Films, Kiterabbit Films, and HHMI Tangled Bank Studios.
     [Google Scholar]
  49. Shambu, Girish (2022), ‘Ecosystems: From Sable Island to documentary platforms’, Film Quarterly, August, https://filmquarterly.org/2022/08/23/ecosystems-from-sable-island-to-documentary-platforms/. Accessed 19 December 2023.
     [Google Scholar]
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     [Google Scholar]
  51. Soukup, Katarina (2011), ‘Traveling through layers: Inuit artists appropriate new technologies’, in M. Bravo and N. Triscott (eds), Arctic Geopolitics & Autonomy, Berlin: Hatje Cantz, pp. 57–71.
     [Google Scholar]
  52. The Blue Planet (2001, UK: BBC Natural History Unit and Discovery Channel).
  53. Utterson, Andrew (2022), Persistent Images: Encountering Film History in Contemporary Cinema, Edinburgh: Edinburgh University Press.
     [Google Scholar]
  54. Vanstone, Gail and Winston, Brian (2019), ‘This would be scary to any other culture … but to us it's so cute!’ The radicalism of Fourth Cinema from Tangata Whenua to Angry Inuk’, Studies in Documentary Film, 13:3, pp. 233–49.
     [Google Scholar]
  55. Variety (2022), In Conversation with Meredith Woerner, ‘“All that Breathes” Director Shaunak Sen finds hope in the connection between human and animal life’, YouTube, https://www.youtube.com/watch?v=BbLoQ8GPxeA. Accessed 19 December 2023.
     [Google Scholar]
  56. Walking with Beasts (2021, UK: BBC Science Unit and Impossible Pictures).
  57. Whyte, Kyle Powys (2021), ‘Indigenous realism and climate change’, in L. Badia, M. Cetinic and J. Diamanti (eds), Climate Realism: The Aesthetics of Weather and Atmosphere in the Anthropocene, New York: Routledge, pp. 69–82.138
     [Google Scholar]
  58. Wildcat, Daniel R. (2009), Red Alert! Saving the World through Indigenous Knowledge, Golden, CO: Fulcrum.
     [Google Scholar]
  59. Williams, Christopher (1980), Realism and the Cinema: A Reader, London: Routledge and Kegan Paul Ltd in association with the British Film Institute.
     [Google Scholar]
  60. Working Group on the ‘Anthropocene’ (n.d.), Subcommission on Quaternary Stratigraphy, http://quaternary.stratigraphy.org/#:~:text=The%20Subcommission%20on%20Quaternary%20Stratigraphy,of%20Geological%20Sciences%20(IUGS). Accessed 19 December 2023.
     [Google Scholar]
  61. Yu, Agnes (2020), ‘Documenting the Anthropocene: An interview with Jennifer Baichwal’, St Antony's International Review, 15:2, pp. 88–99.
     [Google Scholar]
  62. Yusoff, Kathryn (2019), ‘Geologic realism: On the beach of geologic time’, Social Text, 37:1(138), pp. 1–26, https://doi.org/10.1215/01642472-7286240.
     [Google Scholar]

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