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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS 345"
COURSE NAME: "Ecocinema: Environmentalism and Film"
SEMESTER & YEAR: Fall 2022
SYLLABUS

INSTRUCTOR: Antonio Lopez
EMAIL: [email protected]
 HOURS: MW 3:00 PM 5:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:
COURSE DESCRIPTION:
This course examines a growing subfield of cinema studies, ecocinema, which is devoted to exploring the intersection between film and environmental issues. Ecocinema encompasses a range of movie genres, including documentary, Hollywood blockbusters, eco-horror, indigenous films, and animation. This course investigates how themes like environmental catastrophe, wilderness, animal rights, climate change, the construction of human-nature relations, ecojustice, and environmental politics are communicated through the particular medium properties of film. This course also examines the material impact of film on the environment. During the semester students will study films by combining traditional methods of film criticism with ecocriticism to explore production, aesthetics, narrative, reception, and culture in relationship to environmental themes.
SUMMARY OF COURSE CONTENT:

Situating film in the context of global environmental change and culture, by the end of this course students should develop a critical awareness of the range of topics associated with ecocinema. Students will learn how to read ecocinema films, exploring how aesthetics, narrative and industrial practices shape environmental themes. Utilizing ecocriticism and film criticism during weekly screenings, discussions, and lectures, students will learn how environmental discourses (how we “talk” about environmental issues) are communicated in film. Students will be expected to keep a journal of screening notes, engage theoretical and historical readings, participate in group discussion, and make a presentation.

LEARNING OUTCOMES:

Students who participate fully in course activities and assignments will learn to:

  • Apply concepts of ecocriticism and film criticism to film and media texts.

  • Observe how environmental discourses are communicated through film language and

    narrative in cinema.

  • Recognize the range of themes and genres that comprise ecocinema.

  • Learn to develop and present original arguments supported by evidence from multiple

    sources in both group presentations and individual essays.

  • Apply professional standards and ethics in research and media practice, and critically

    evaluate the ethics of institutional and individual media practices.

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Ecocinema Theory and PracticeEds. Rust, Monani, and Cubitt Routledge9780203106051     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
African EcomediaCajetan IhekaDuke University978-1-4780-1474-4  
Green Media and Popular CultureJohn ParhamPalgrave978-1137009463  

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Mid-term exam Midterm will consist of essay questions written during class. The questions will be handed out prior to the exam.20%
Final projectPart I: Research a theme or topic and write a short five-page research paper that is appropriate to the course material. The topic is open, but might focus on a film, a number of related films, a director, a genre, a style of filmmaking, music, environment, etc. Take the theme developed in the research and create a film festival (see Part II). Part II: Curate an ecocinema film festival- Read, “Environmental film festivals: Beginning explorations at the interactions of film festivals studies and ecocritical studies,” in Ecocinema Theory and Practice. Choose a theme we have covered during the semester and expand it out into a film festival that features 10 films. Give the festival a name that reflects the theme, and then write an introduction to its program that explains and justifies the particular concept of the festival. Then write ten one paragraph program summaries of films related to the festival theme, which includes a reason why the film was chosen. Be sure to include the year and director of the film in your program note. 20%
Short Paper: Process-relational analysis of Hollywood cinema 4-6 page analysis based on process-relational analysis framework. Choose any film screened through week 5 and answer at least one question from each sphere in the handout. You can structure your paper around the major sections of the handout but write transition sentences between sections (i.e don’t just write a paper that asks and answers questions). Be sure to use the terminology identified in the model as you respond to the film.10%
Short eco-videoCreate a one-minute video documentary of something “natural.” The video is shot on whatever device is at hand, such as a digital camera or a phone.10%
AttendanceMore than three unexcused absences will result in an automatic loss of a letter grade. More than six unexcused absences is an automatic F. 10%
Screen notesCritical analysis screening notes of the films must be typed up on a Google Doc with a link that is posted on the course website Monday nights BEFORE the lecture session. Failure to do so will negatively impact your grade.10%
Final exam Open book exam based two essay questions covering material from Weeks 7-14 .20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. 
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Note: schedule is subject to change.

For updates, please visit the class Moodle.

Please note that when a week features more than three readings it means that those are shorter chapters.

  1. Week 1: Film and the Environment: Situating Ecocinema Studies, What Counts as Ecocinema?

    Film: Ascension (Jessica Kingdon, 2021)

    Reading:

     

    ·      Rust, Monani, and Cubitt, “Introduction,” Ecocinema Theory and Practice, 1-13

    ·      Scott Macdonald, “The Ecocinema Experience,” Ecocinema Theory and Practice, 17-41

    ·      David Ingram, “The Aesthetics and Ethics of Eco-film Criticism” in Ecocinema Theory and Practice , 43-61

    ·      Short article: Vegan food, recycled tuxedos – and billions of tonnes of CO2: can Hollywood ever go green?

     

    Week 2: Ecomateriality: The Environmental Impact of Media Production

    Films: Black Panther (Ryan Coogler, 2018)

     

    Reading:

     

    ·      Cajetan Iheka, “Introduction,” African Ecomedia (reserve)

    ·      Hunter Vaughn, “5000,000 Kilowatts of Stardust: An Ecomaterilaist Reframing of Singing in the Rain,” Sustainable Media (e-book reserve)

    ·      Nodia Bozalk, “Introduction” (pp. 1-16), The Cinematic Footprint (PDF)

     

     

    Week 3: Visualizing Global Environmental Change in Hollywood Cinema

    Film: Dune (Denis Villeneuve, 2021)

    Reading:

     

    • Willoquet-Maricondi, “Introduction,” Framing the World, 1-25 (e-book reserve)
    • Robin L. Murray and Joseph K. Heumann, “Introduction,” Ecology and Popular Film (e-book reserve)
    • Stephen Rust, “Hollywood and Climate Change,” Ecocinema Theory and Practice, 191-211
    • Ines Crespo and Angela Pereira, “Climate Change Films: Fear and Agency Appeals,” Transnational Cinema

     

    Week 4: The Big Picture: Theory and Philosophy; Sci-fi and Postmodernism

    Film: Blade Runner 2049 (Denis Villeneuve, 2017)

    Reading:

     

    ·      Adrian Ivakhiv, “An Ecophilosophy of the Moving Image: Cinema as Anthrobiogeomorphic Machine” in Ecocinema Theory and Practice

    ·      Pat Brereton, “Postmodern Science Fiction Films and Ecology,” Hollywood Utopia(e-book reserve)

    ·      Pat Brereton, "Contemporary Hollywood Blockbusters and Environmental Narratives," (Environmental Literacies and New Digital Audiences, e-book reserve)

    ·      Listen to On The Media: Apocalypse, Now

     

    Week 5: Ecofeminism and Ecocinema

    Film: There Will Be Blood (Paul Thomas Anderson, 2007)

    Reading:

     

    ·      Pat Brereton, “Environmental ethics and ecocinema,”  Environmental Ethics and Film(e-book reserve)

    ·      Pat Brereton, “Ecofeminism, Environmental Ethics and Active Engagement in Science Fiction Fantasies,” Environmental Ethics and Film (e-book reserve)

    ·      Robin L. Murray and Joseph K. Heumann, “Car culture and the transformation of American landscape…,” Ecology and Popular Film (e-book reserve)

     

    Honors

     

    ·      Donna Haraway, CyborgManifesto (PDF)

     

    Week 6: Humor and the precautionary principle

    Film: Don’t Look Up (Adam McKay, 2021)

    Reading:

     

    • Pat Brereton, “Environmental Ethics and Eco-Cinema,”  Environmental Ethics and Film (e-book reserve)
    • Pat Brereton, “End of the World Scenarios and the Precautionary Principle,”  Environmental Ethics and Film (e-book reserve)
    • John Parham, "Green Comedy: The Importance of Being Elastic," Green Media and Popular Culture (reserve)

     

     

    Week 7: Wilderness Pt. 1

    Film: Nomadland (Chloé Zhao, 2019)

     

    Reading:

     

    • David Ingram, “Wilderness in Hollywood Cinema,” Green Screen, 13-35 (e-book reserve)
    • Willoquet-Maricondi, “Shifting Paradigms from Environmentalist Films to Ecocinema,” 43-61, Framing the World (e-book reserve)
    • Pat Brereton, “Appreciating the views: Filming nature…”, Ecocinema Theory and Practice, p. 213-232

     

    Week 8: Midterm

    Film: Leave No Trace (Debra Granik, 2018) or Wild (Jean-Marc Valee, 2014)

     

    No readings: In class exam.

     

     

    Week 9: Wilderness Pt. 2

    Film: Grizzly Man (Werner Herzog, 2005)

     

    Reading:

     

    ·      Henry, “Constructions of Nature in Werner Herzog’s Grizzly Man,” 170-186, Framing the World (e-book reserve)

    ·      Ladino, “Working with animals: Regarding companion species in documentary film,”Ecocinema Theory and Practice, p. 129-148

     

    Week 10: Wildlife and Documentary Filmmaking

    Film: March of the Penguins (Luc Jacquet, 2005)

    Reading:

     

    ·      Claire Molloy, “Nature Writes the Screenplays,” Ecocinema Theory and Practice

    ·      Luis Vivanco, “Penguins are Good to Think With,” Ecocinema Theory and Practice

     

    Week 11: Animation

    Film: Princess Mananoki (Hayao Miyazaki, 2000)

    Reading:

     

    ·      Murray and Heumann, “Introduction,” That's All Folks?: Ecocritical Readings of American Animated Features, 1-28 (e-book reserve)

    ·      Murray and Heumann, “Bambi and Mr. Bug Goes to Town,” That's All Folks?: Ecocritical Readings of American Animated Features, 29-48 (e-book reserve)

    ·      Bruckner, “Bambi and Finding Nemo: A Sense of Wonder in the Wonderful World of Disney,” Framing the World, 187-208 (e-book reserve)

     

    Week 12: Transnational Ecocinema

    Film: Bacareau (Kleber Mendonça Filho, Juliano Dornelles, 2019)

     

    Reading:

     

    ·      Pietari Kääpä and Tommy Gustafsson, “Introduction” and Pietari Kääpä “Transnational

    ·      Approaches to Ecocinema” in Transnational Ecocinema

    ·      “Disposable Bodies: in The Constant Gardner and Dirty Pretty Things,” Framing the World (e-book reserve)

     

    Week 13: Ecojustice

    Film: Even the Rain (También la lluvia, Icíar Bollaín, 2010); Abuela Grillo (The Animation Workshop, 2009) (https://vimeo.com/11429985)

    Reading:

     

    ·      Roberto Forns-Broggi, “Ecocinema and ‘Good Life’” in Transnational Ecocinema

    ·      Andrew Hageman, “Ecocinema and Ideology” in Ecocinema Theory and Practice

     

    Week 14: Indigenous Cinema

    Film: Various short films

     

    Reading:

     

    • Jennifer A. Machiaorlatti, “Ecocinema, Ecojustice, and Indigenous Worldviews: Native and First Nations Media as Cultural Recovery,” Framing the World (e-book reserve)
    • Joni Adamson and Salma Monani, "Introduction: Cosmovisions, Ecocriticism, and Indigenous Studies," Ecocriticism and Indigenous Studies (PDF)
    • Janet Fiskio, "Dancing at the End of the World," Ecocriticism and Indigenous Studies (PDF)

     

    Final paper due