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Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.
This may be hard to believe but it is very likely that more people live in closer proximity to more wild animals, birds and trees in the eastern United States today than anywhere on the planet at any time in history. For nature lovers, this should be wonderful news -- unless, perhaps, you are one of more than 4,000 drivers who will hit a deer today, your child’s soccer field is carpeted with goose droppings, coyotes are killing your pets, the neighbor’s cat has turned your bird feeder into a fast-food outlet, wild turkeys have eaten your newly-planted seed corn, beavers have flooded your driveway, or bears are looting your garbage cans. For 400 years, explorers, traders, and settlers plundered North American wildlife and forests in an escalating rampage that culminated in the late 19th century’s “era of extermination.” By 1900, populations of many wild animals and birds had been reduced to isolated remnants or threatened with extinction, and worry mounted that we were running out of trees. Then, in the 20th century, an incredible turnaround took place. Conservationists outlawed commercial hunting, created wildlife sanctuaries, transplanted isolated species to restored habitats and imposed regulations on hunters and trappers. Over decades, they slowly nursed many wild populations back to health. But after the Second World War something happened that conservationists hadn’t foreseen: sprawl. People moved first into suburbs on urban edges, and then kept moving out across a landscape once occupied by family farms. By 2000, a majority of Americans lived in neither cities nor country but in that vast in-between. Much of sprawl has plenty of trees and its human residents offer up more and better amenities than many wild creatures can find in the wild: plenty of food, water, hiding places, and protection from predators with guns. The result is a mix of people and wildlife that should be an animal-lover’s dream-come-true but often turns into a sprawl-dweller’s nightmare. Nature Wars offers an eye-opening look at how Americans lost touch with the natural landscape, spending 90 percent of their time indoors where nature arrives via television, films and digital screens in which wild creatures often behave like people or cuddly pets. All the while our well-meaning efforts to protect animals allowed wild populations to burgeon out of control, causing damage costing billions, degrading ecosystems, and touching off disputes that polarized communities, setting neighbor against neighbor. Deeply researched, eloquently written, counterintuitive and often humorous Nature Wars will be the definitive book on how we created this unintended mess.
Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.
We exist at a moment during which the entangled challenges facing the human and natural worlds confront us at every turn, whether at the most basic level of survival—health, sustenance, shelter—or in relation to our comfort-driven desires. As demand for resources both necessary and unnecessary increases, understanding how nature and culture are interconnected matters more than ever. Bridging the fields of environmental history and American studies, Rendering Nature examines the surprising interconnections between nature and culture in distinct places, times, and contexts over the course of American history. Divided into four themes—animals, bodies, places, and politics—the essays span a diverse array of locations and periods: from antebellum slave society to atomic testing sites, from gorillas in Central Africa to river runners in the Grand Canyon, from white sun-tanning enthusiasts to Japanese American incarcerees, from taxidermists at the 1893 World's Fair to tents on Wall Street in 2011. Together they offer new perspectives and conceptual tools that can help us better understand the historical realities and current paradoxes of our environmental predicament. Contributors: Thomas G. Andrews, Connie Y. Chiang, Catherine Cocks, Annie Gilbert Coleman, Finis Dunaway, John Herron, Andrew Kirk, Frieda Knobloch, Susan A. Miller, Brett Mizelle, Marguerite S. Shaffer, Phoebe S. K. Young.
An illustrated monthly with popular articles about nature.
Winner of the 2019 Turku Book Award from the European Society for Environmental History The Albufera Natural Park, an area ten kilometers south of Valencia that is widely regarded as the birthplace of paella, has long been prized by residents and visitors alike. Since the twentieth century, the disparate visions of city dwellers, farmers, fishermen, scientists, politicians, and tourists have made this working landscape a site of ongoing conflict over environmental conservation in Europe, the future of Spain, and Valencian identity. In Cultivating Nature, Sarah Hamilton explores the Albufera’s contested lands and waters, which have supported and been transformed by human activity for a millennium, in order to understand regional, national, and global social histories. She argues that efforts to preserve biological and cultural diversity must incorporate the interests of those who live within heavily modified and long-exploited ecosystems such as the Albufera de Valencia. Shifting between local struggles and global debates, this fascinating environmental history reveals how Franco’s dictatorship, Spain’s integration with Europe, and the crisis in European agriculture have shaped the Albufera, its users, and its inhabitants.
How should we share the truth about the environmental crisis? At a moment when even the most basic facts about ecology and the climate face contestation and contempt, environmental advocates are at an impasse. Many have turned to social media and digital technologies to shift the tide. But what if their strategy is not only flawed, but dangerous? The Truth about Nature follows environmental actors as they turn to the internet to save nature. It documents how conservation efforts are transformed through the political economy of platforms and the algorithmic feeds that have been instrumental to the rise of post-truth politics. Developing a novel account of post-truth as an expression of power under platform capitalism, Bram Büscher shows how environmental actors attempt to mediate between structural forms of platform power and the contingent histories and contexts of particular environmental issues. Bringing efforts at wildlife protection in Southern Africa into dialogue with a sweeping analysis of truth and power in the twenty-first century, Büscher makes the case for a new environmental politics that radically reignites the art of speaking truth to power.