Film and Media Studies Commons^™

Examining The Impact Of Climate Change Film As An Educational Tool, Brittany Bondi, Salma Monani, Sarah M. Principato, Christopher P. Barlett

Student Publications

Purpose: The aim of this paper is to evaluate the effectiveness of film in communicating issues related to climate change. While previous studies demonstrate an immediate effect of a film post-screening, this study also considered if a film can inspire long-term effects, and if supplemental educational information plays a role on participant understanding.

Design/methodology/approach: Using surveys, we assessed undergraduate students’ climate change responses pre-, immediately-post, and 9-weeks post watching the climate change documentary The Human Element (Prod. Earth Vision Institute, 2018). In the 9-week interim before the final survey, half of the participants received weekly information on climate change via …

Editorial, Linda Haverty Rugg, Salma Monani

Environmental Studies Faculty Publications

The editorial frames a special issue that introduces Scandinavian cinema and media scholars to ecomedia studies and its potentials.

Feeling And Healing Eco-Social Catastrophe: The "Horrific" Slipstream Of Danis Goulet's Wakening, Salma Monani

Environmental Studies Faculty Publications

Cree/Métis filmmaker Danis Goulet’s science fiction short Wakening (2013) is set in Canada’s near future, yet the film reveals a slipstream of time where viewers are invited to contemplate the horrors of ecosocial crises—future, past, and present. I argue Wakening, as futuristic ecohorror, produces horrific feelings in the moment of its viewing that are inevitably entangled with the past, inviting its audiences to experience the monstrous contexts of Indigenous lives across time. To articulate this temporal dynamism, I overlay two key conceptual understandings: Walter Benjamin’s critiques of Western progress and historicism, and Indigenous notions of a Native slipstream. When brought …

In God’S Land: Cinematic Affect, Animation And The Perceptual Dilemmas Of Slow Violence, Salma Monani

Environmental Studies Faculty Publications

In this paper, I argue that Indian independent filmmaker Pankaj Rishi Kumar's documentary In God’s Land (2012) blends animation and live-action to illuminate the destructive nuances of postcolonial literary scholar, Rob Nixon's notion of slow violence. In turning to cinema, I also suggest that In God’s Land’s “aesthetic strategies” further eco-film scholarship’s recent interests in animation, which have tended to highlight the mode's "feel good affect." I draw attention to In God's Land's hybrid of dark, discordant animation spectacle interspliced in the documentary live-action to articulate the potential of eco-animation outside of this affect. Ultimately, the film not only draws …

Indigenous Film Festivals As Eco-Testimonial Encounter: The 2011 Native Film + Video Festival, Salma Monani

Environmental Studies Faculty Publications

In struggles for political and cultural recognition many Indigenous groups employ visual media to make their concerns heard. Amongst these various channels for media activism are Indigenous film festivals which, in the words of festival coordinator Amalia Cόrdova, work to convey ‘a sense of solidarity with Indigenous struggles’. Cόrdova’s essay on Indigenous film festivals appears in the collection Film Festivals and Activism (2012). In the introduction to the collection co-editor Leshu Torchin writes about activist festivals as testimonial encounters or fields of witnessing where the films offer testimony and the audiences serve as witnessing publics, ‘viewers [who] take responsibility …

Environmental Film Festivals: Beginning Explorations At The Intersections Of Film Festival Studies And Ecocritical Studies, Salma Monani

Environmental Studies Faculty Publications

Drawing from the burgeoning field of film festival studies and its engagement with public sphere theory, I examine environmental film festivals to suggest that their festival terrain is bounded by three end-member festival types, that of the official public sphere, the alternative public sphere, and the corporate or trade-show sphere. Few environmental festivals fall neatly into a single end-member category. Analyzing how they construct their identities suggests the complex ways in which these festivals work to negotiate their presence in a heterogeneous environmental and media landscape and makes room for continued attention to these unique sites of ecocinema engagement.