This book applies ecolinguistics and psychoanalysis to explore how
films fictionalising environmental disasters provide spectacular
warnings against the dangers of environmental apocalypse, while
highlighting that even these apparently environmentally friendly
films can still facilitate problematic real-world changes in how
people treat the environment. Ecological Film Theory and
Psychoanalysis argues that these films exploit cinema's inherent
Cartesian grammar to construct texts in which not only small groups
of protagonist survivors, but also vicarious spectators,
pleasurably transcend the fictionalised destruction. The
ideological nature of the 'lifeboats' on which these survivors
escape, moreover, is accompanied by additional elements that
constitute contemporary Cartesian subjectivity, such as class and
gender binaries, restored nuclear families, individual as opposed
to social responsibilities for disasters, and so on. The book
conducts extensive analyses of these processes, before considering
alternative forms of filmmaking that might avoid the dangers of
this existing form of storytelling. The book's new ecosophy and
film theory establishes that Cartesian subjectivity is an
environmentally destructive 'symptom' that everyday linguistic
activities like watching films reinforce. This book will be of
great interest to students and scholars of film studies, literary
studies (specifically ecocriticism), cultural studies,
ecolinguistics, and ecosophy.
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