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Clive Cazeaux

9 Aesthetics as ecology, or the question of the form of eco-art Clive Cazeaux Although the origins of ecological art or eco-art (I shall use the latter name from here on) are relatively easy to identify, the full meaning and scope of the name are not so easy to determine. The emergence of eco-art as a visual art form is arguably the result of a number of interrelated factors in the 1960s: American and United Kingdom countercultures, including disillusionment with government and material wealth; conceptual art’s reaction against traditional aesthetic values

in Extending ecocriticism
An ecological approach to rural cinema-going
Kate Bowles

This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.

Film Studies
Technologies of Surveillance, Knowledge and Power in Paramount Budget Documents, 1927–58
William Thomas McClain

Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.

Film Studies
The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Keala Jewell

Jewell links the were-animals in Tommaso Landolfis novel La pietra lunare to population ecology in the 1930s. Landolfi imagines and narrates a were-population explosion in the specific historical context of the changes fascism brought to rural life when it favored a grain-based economy. When state policy attempts to manage grazing populations and the culture of transhumance, the uncontrolled growth of fast-breeding, broad-ranging, mountain-going were-goats in the novel puts the validity of fascist agricultural policy into question. When in secret at the full moon they couple monstrously and multiply, were-animals thoroughly challenge the effectiveness of discourses of controlled population management.

Gothic Studies
Ecologies of writing and collaboration
Philip Gross

3 Halfway-to-whole things: ecologies of writing and collaboration Philip Gross Driving over the Second Severn Crossing, some ten years ago, did something to my writing life. (With a shameless abuse of the term, you might call it a watershed.) What nudged that change was not so much the coming to Wales – first to take up a job, then to live – as the compelling presence of the Severn estuary itself. With its massive tidal range, the emergence and melting away of vast tracts of mud flats and stone grounds, the waterscape altering with every change of weather, wind

in Extending ecocriticism
Open Access (free)
An ecocritical examination of the birds of Bergman
Linda Haverty Rugg

expression in Timothy Morton’s 2007 book, Ecology without Nature , where he describes a ‘poetics of ambience’ that is the distinguishing feature of what he calls ‘ecomimesis’. To put it simply, ecomimesis is a representational practice in literature and art which attempts to recreate the experience of nature, as when Wordsworth writes about daffodils or a film incorporates images, light, and sound to give the impression of a particular place or time in nature. Ecomimesis, writes Morton, ‘involves a poetics of

in Ingmar Bergman
An ecocritical reading
William Welstead

13 On-site natural heritage interpretation: an ecocritical reading William Welstead Visitors to the countryside are increasingly faced with a variety of panels, interpretation centres and other interventions that convey selected narratives and ways of seeing our natural heritage. This chapter explores the scope for these cultural objects to be included in ecocritical enquiry. The ubiquity and undemanding nature of many displays makes for an accessible source of information about basic ecology as filtered through the viewpoint of site managers for national and

in Extending ecocriticism
Stephen Greer

only in smaller proportions to individuals as ‘sole trader’ businesses. This income is frequently supplemented with other work –​as suggested above in discussion of Howells’ career, through teaching, mentorship roles, production work on other creative projects and occasional private commissions. This ecology contributes to a state of continual negotiation between different revenue sources, and between that which is necessary (to pay rent and keep a production company solvent) and that which might also serve the development of an artist’s practice and the creation of

in Queer exceptions
Abstract only
Science and art in Antarctica
Mike Pearson

seal placenta to penguin poop. In their strangeness, they are unexpected, uncanny, beyond one’s anticipated avian checklist. And they go about their specialised everyday life and, as with all other Antarctic fauna, ambivalent towards and indifferent to our attempts to encapsulate their world for our own aesthetic Treaty obligations 219 consumption. Beyond the ambiguities of Treaty Article XIII, it is they who truly own Antarctica. Ecology We now cherish Antarctic fauna, but that was not always the case. In the early nineteenth century, seal and whale

in Extending ecocriticism
William Welstead

and “pretty pictures of animals” at worst’ (2013: 13). In particular, it is evident that the picture-viewing public expects wildlife art to have a denoted meaning that relates to recognisable species. There are signs that wildlife artists are trying to break free from this straitjacket of denotation, towards a less representational form of their art. In this chapter the way that wildlife artists navigate the twin pulls of science and art is explored in the context of the task of ecocritics to read cultural works with and against discourses from ecology and

in Extending ecocriticism