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|Title: ||The Disposable Camera: Image, Energy, Environment|
|Authors: ||Bozak, Nadia|
|Advisor: ||Cazdyn, Eric|
|Department: ||Comparative Literature|
|Issue Date: ||28-Jul-2008|
|Abstract: ||“The Disposable Camera” theorizes the relationship between the cinematic image and energy resources. Framed by the emergent carbon-neutral cinema, the recent UCLA report on the film industry’s environmental footprint, as well as common perceptions about digital sustainability, “The Disposable Camera” posits that cinema has always been aware of its connection to the environment, the realm from which it sources its power, raw materials and, often enough, subject matter. But because the natural environment is so inextricably embedded within film’s basic means of production, distribution and reception, its effects remain as overlooked as they are complex.
“The Disposable Camera” argues that cinematic history and theory can and indeed ought to be reappraised against the emerging ascendancy of environmental politics, all films; as such, all cinema could logically be included within the analytical parameters of this project. Primary focus, however, is given to documentary cinema, as well as notable experimental and narrative films. Selected texts do not overtly represent an environmental issue; rather, they reflexively engage with and theorize themselves as films, thus addressing the technological, industrial, and resource-derived essence of the moving image. Of import here are films that reveal how specific formal or aesthetic choices evidence and critique the ideology attached to resource consumption and/ or abuse. While it composes a distinctly environmental trajectory of the cinematic image, this project likewise historicizes and critiques these same stages and also challenges the utopian and/ or apocalyptical tendencies challenging eco-politics. Additionally, “The Disposable Camera” is committed to mapping out the shift from a distinctly tangible celluloid-based cinematic infrastructure to the ostensibly immaterial form of digital filmmaking. Indeed, the tension that now pits cinema’s material past against its immaterial future corresponds with the decline of natural reality on the one hand and the rise of cyber realities on the other, a parallel condition that fully evidences the increasingly palpable overlap between environmental and cinematic politics.|
|Appears in Collections:||Doctoral|
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