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.
environmental humanities by drawing selectively on existing work in the discipline. Building on canonical, largely male, approaches in Chapter 1 , the main aim of ecofeminism within this book is to show its power in theory, political philosophy and activism. I seek to align a prominent strand of political and culturalecology – namely ecofeminism – with the huge contribution of feminism within art history and criticism. Surprisingly, there is very little if any material on this particular disciplinary boundary, even though the varied work of Lippard, Lacy, Krauss, Pollock
Paying attention – environmental justice and ecocritical art
and bind it to more immediate material factors. At the other end of the spectrum, an art historian who confines discussion to singular artefacts, perhaps with an eye towards provenance, authenticity and even market worth, might see another kind of value in positioning these objects into wider political and culturalecologies that they would ordinarily consider as operating on too abstract or unknowable a level. Close scrutiny of the more distant shaping forces that press upon an object can supplement a carefully developed empiricism, create a new kind of value and
An interest in the most specific area of ‘culturalecology’ as an extension of art history can be found in the writing of Henri Focillon (1881–1943), particularly in his well-known ‘The Life of Forms in Art’ (1934), which directly bridges aesthetics, art history and evolutionary thinking. 13 Echoing Darwin, Focillon asserts that ‘[t]he life of forms is not the result of chance’. 14 For Eric Fernie, ‘The Life of Forms in Art’ combined the Hegelian system of Riegl and Wölfflin with the empiricism of Burckhardt to form a single concept of style. 15
Ducornet, Deep Zoo , pp. 16–18.
Gagliano, ‘Breaking the Silence’, p. 92.
Kate Rigby, ‘Earth's Poesy: Romantic Poetics, Natural Philosophy, and Biosemiotics’, in Hubert Zapf (ed.), Handbook of Ecocriticism and CulturalEcology (Berlin: De
Biosemiotics’. In De Gruyter Handbook of Ecocriticism and CulturalEcology.
Ed. Hubert Zapf. Berlin: De Gruyter, 45–64.
Rigby, Kate 2015b. Dancing with Disaster: Histories, Narratives, and Ethics for
Perilous Times. Charlottesville: University of Virginia Press.
Rose, Deborah Bird, with Sharon D’Amico et al. 2002. Country of the Heart: An
Indigenous Australian Homeland. Canberra: Aboriginal Studies Press.
Seddon, Mark 2010. ‘A Fresh Outbreak of Dutch Elm Disease is Threatening the
Existence of the UK’s Remaining English Elm Trees’. BBC Newsnight, 21 August
coterminous with life in
general, and yet must also (in order to be recognised and circulated) take
part in a culturalecology:
On the one hand, this thing is not a thing, not-as one ordinarily believes
things to be-a natural thing: in fact ‘biodegradable,’ on the contrary, is
generally said of an artificial product, most often an industrial product,
whenever it lets itself be de-composed by microorganisms. On the
other hand, the ‘biodegradable’ is hardly a thing since it remains a thing
that does not remain, an essentially decomposable thing, destined to
pass away, to lose
activator and has undermined the cultural supremacy of
abstract, conceptual ideas over material objects. In doing so, it has sought
to germinate new spheres of understanding – an active culturalecology
with no division between human and inanimate forces.
Following these ideas, this study focuses on the role of design as a social
practice and explores how, where, and why objects impact the construction
of power relations and the creation of meaningful social systems.81 In this
context, my methodology centres on identifying the mechanisms of action
shaped by the aesthetic
terrain for contestation within and between differences, rather than suppress them.’ 16 It is beyond the scope of this book to draw out the full implications of Harvey’s observations on the socio-ecological categories of competition, struggle, adaptation, diversification, collaboration, cooperation, mutual aid and environmental transformations, but culturalecology and production need this insight and it should surely dominate our attention as the discipline moves on. 17
The metaphor of the metabolic has found new life in recent scholarship, with Wark