"From its beginnings, some of German film's most prominent genres and directors have focused on the natural world and its transformations by humans. Heimat films, "city symphonies," mountain films, and rubble films all blend the boundary between landscape documentary and fiction film. Yet German film studies has been slow to adopt an environmental focus, concentrating (understandably) on its subject matter's political implications. This book reveals critical connections between German film, sociopolitical context, and environment, showing it to have been a creative catalyst for the social and ecological transformation of the Anthropocene. The book first considers the interplay between German film and environmental history in films and discourses of Heimat. Weimar-era films such as E. A. Dupont's Die Geierwally (1921), Carl Ludwig Achaz-Duisberg's Sprengbagger 1010 (1929), and Phil Jèutzi's Hunger in Waldenburg (1929) document and create a forum for discussing environmental change. The book then looks at film as a visual archive of and catalyst for infrastructure development, focusing on Metropolis (Fritz Lang, 1927), the mountain films of Arnold Fanck, and the Berlin films Stadt der Millionen (Adolf Trotz, 1925), Berlin: Die Sinfonie der Grossstadt (Walter Ruttmann, 1927), and Menschen am Sonntag (1930). Nazi-era and postwar films are also examined. By exploring German film history alongside environmental history and theory, this book provides a case study of the power of film within processes of environmental transformation"--

This book provides an interdisciplinary analysis of film in the context of the Anthropocene: the new geological era in which human beings have collectively become a force of nature. Daniel White draws on perspectives in philosophy, ecology, and cybernetics (the science of communication and control in animals and machines) to explore human self-understanding through film in the new era. The classical figure of Janus, looking both to the future and the past, serves as a guide throughout the study. Both feature and documentary films are considered.

This book examines China’s role and its cultural productions in the process of environmental destruction and transformation, focusing on how various cultural media play a significant role in shaping and reproducing Chinese subject formation in relation to changing ecological conditions. It argues that China under the leadership of Xi Jinping vowed in 2017 to play a leading role in preserving the planet for the future, but many of its actions such as its “Belt and Road” initiative have aroused apprehension rather than inspired confidence. Against this backdrop of environmental concern, this volume brings together a cutting-edge critical analysis of Chinese literature, music and cinema, offering a transdisciplinary and comprehensive vision of Chinese arts and literature under the current conditions of the Anthropocene. This volume sets a high scholarly standard in the field, and constitutes a valuable reference for scholars and students of Chinese cultural studies, Chinese studies and Anthropocene studies. ​

This volume weaves together a variety of perspectives aimed at confronting a spectrum of ethico-political global challenges arising in the Anthropocene which affect the future of life on planet earth. In this book, the authors offer a multi-faceted approach to address the consequences of its imaginary and projective directions. The chapters span the disciplines of political economy, cybernetics, environmentalism, bio-science, psychoanalysis, bioacoustics, documentary film, installation art, geoperformativity, and glitch aesthetics. The first section attempts to flesh out new aspects of current debates. Questions over the Capitaloscene are explored via conflations of class and climate, revisiting the eco-Marxist analysis of capitalism, and the financial system that thrives on debt. The second section explores the imaginary narratives that raise questions regarding non-human involvement. The third section addresses ’geoartisty,’ the counter artistic responses to the speculariztion of climate disasters, questioning eco-documentaries, and what a post-anthropocentric art might look like. The last section addresses the pedagogical response to the Anthropocene.

Why might interdependence, the idea that we are made up of our relations, be horrifying? Philosophy, Film, and the Dark Side of Interdependence argues that philosophy can outline the contours of dark specter of interdependence and that film can shine a light on its shadowy details, together revealing a horror of relations. The contributors interrogate the question of interdependence through analyses of contemporary film, giving voice to new perspectives on its meaning. Conceived before and written during the 2020 COVID-19 pandemic and through a period of deep social unrest, this volume reveals a reality both perennial and timely.

From catastrophe to utopia, the most comprehensive survey yet of how literature can speak to the 'Anthropocene'.

In Allegories of the Anthropocene Elizabeth M. DeLoughrey traces how indigenous and postcolonial peoples in the Caribbean and Pacific Islands grapple with the enormity of colonialism and anthropogenic climate change through art, poetry, and literature. In these works, authors and artists use allegory as a means to understand the multiscalar complexities of the Anthropocene and to critique the violence of capitalism, militarism, and the postcolonial state. DeLoughrey examines the work of a wide range of artists and writers—including poets Kamau Brathwaite and Kathy Jetñil-Kijiner, Dominican installation artist Tony Capellán, and authors Keri Hulme and Erna Brodber—whose work addresses Caribbean plantations, irradiated Pacific atolls, global flows of waste, and allegorical representations of the ocean and the island. In examining how island writers and artists address the experience of finding themselves at the forefront of the existential threat posed by climate change, DeLoughrey demonstrates how the Anthropocene and empire are mutually constitutive and establishes the vital importance of allegorical art and literature in understanding our global environmental crisis.

Historical Turns reassesses Weimar cinema in light of the "crisis of historicism" widely diagnosed by German philosophers in the early twentieth century. Through bold new analyses of five legendary works of German silent cinema—The Cabinet of Dr. Caligari, Destiny, Rhythm 21, The Holy Mountain, and Metropolis—Nicholas Baer argues that films of the Weimar Republic lent vivid expression to the crisis of historical thinking. With their experiments in cinematic form and style, these modernist films revealed the capacity of the medium to engage with fundamental questions about the philosophy of history. Reconstructing the debates over historicism that unfolded during the initial decades of moving-image culture, Historical Turns proposes a more reflexive mode of historiography and expands the field of film and media philosophy. The book excavates a rich archive of ideas that illuminate our own moment of rapid media transformation and political, economic, and environmental crises around the globe.

The Anthropocene and the Undead describes how our experience of an increasingly erratic environment and the idea of the undead are more closely linked than the obvious zombie horde signaling the end of the world. In fact, as described here, much of how we understand the anthropocene both conceptually and in practice involves undead entities from the past that will not die, undead traumas that rise up and consume the world, and undead temporalities that can never end. Fifteen original essays by cultural and anthropological experts such as Kyle William Bishop, Nils Bubandt, Johan Höglund, and Steffen Hantke, among others, study the nature of humanity’s ongoing complicated relationship to the environment via the concept of the undead. In doing so, The Anthropocene and the Undead sheds invaluable light on adjacent concepts such as the Capitalocene, Necrocene, Disanthropocene, Post-anthropocene, and the Symbiocene to trace real and imagined trajectories of our more-than-human selves into undead and undying futures.