THE CINEMATIC FOOTPRINT

Rutgers University Press
Paperback | 256 pages
ISBN: 978-0-8135-5139-5 CAD $26.95

The Cinematic Footprint: Lights, Camera, Natural Resources

Film is often been used to represent the natural landscape and to communicate environmentalist messages. Yet behind even the “green” images shown on screens are ecologically unsustainable production and distribution processes. Noting that celluloid is often composed of petroleum byproducts, The Cinematic Footprint traces the history of how the “hydrocarbon imagination” has been central to the development of film as a medium.

Nadia Bozak’s innovative fusion of film studies and environmental studies leads her to make provocative connections between the disappearance of material resources and the emergence of digital media-with examples ranging from early cinema to Dziga Vertov’s prescient eye, from Chris Marker’s analog experiments to the digital work of Agnès Varda, James Benning, and Zacharias Kunuk. Combining an analysis of cinema technology with a sensitive consideration of film aesthetics, The Cinematic Footprint offers a new perspective between moving images and the natural resources that sustain them.

Buy The Cinematic Footprint Now

Amazon

Chapters Indigo

Kobo

Rutgers University Press

Reviews for The Cinematic Footprint

Revelatory. Bozak is passionate and occasionally poetic.

—Afterimage

Highly original and beautifully written, Bozak’s groundbreaking work adds an essential new dimension to the act of critically viewing film. I have long been awaiting a book that brings environmental matters into the heart of film and media studies!

Lisa Parks, University of California, Santa Barbara

Bozak’s arguements are illuminating and thought-provoking. The Cinematic Footprint is a must read for anyone interested in the developing canon of ecocinema studies.

—Interdisciplinary Studies in Literature and Environment

Bozak looks at the many issues surrounding the relationship between film and the natural environment. The book is at the intersection of many disciplines and will thus likely prove thought provoking for a wide range of readers. It is an ideal volume for serious students of film and environmental studies. Highly recommended.

—Choice

Very few recent books on cinema genuinely deserve to be called ‘groundbreaking.’ This, by all means, is one of them.

—Paolo Cherchi Usai, author of The Death of Cinema