Robin L. Murray – författare

In Ecocinema in the City, Murray and Heumann argue that urban ecocinema both reveals and critiques visions of urban environmentalism. The book emphasizes the increasingly transformative power of nature in urban settings, explored in both documentaries and fictional films such as Children Underground, White Dog, Hatari! and Lives Worth Living. The first two sections—"Evolutionary Myths Under the City" and "Urban Eco-trauma"—take more traditional ecocinema approaches and emphasize the city as a dangerous constructed space. The last two sections—"Urban Nature and Interdependence" and "The Sustainable City"—however, bring to life the vibrant relationships between human and nonhuman nature. Ecocinema in the City provides a space to explore these relationships, revealing how ecocinema shows that both human and nonhuman nature can interact sustainably and thrive.

Ecocritical takes on popular film.Ecology and Popular Film examines representations of nature in mainstream film while also looking at film itself as a form of nature writing. Considering a selection of mainstream movies that embrace a wide variety of environmental themes, from the Lumières' Oil Wells of Baku (1896) to Al Gore's An Inconvenient Truth (2006), Murray and Heumann explore such themes as environmental politics, eco-terrorism, ecology and home, tragic and comic eco-heroes, the spectacular, and evolutionary narrative, in a manner that is both accessible and fun. Other films discussed include The River (1937), Soylent Green (1971), Pale Rider (1985), 28 Days Later (2002), and The Day After Tomorrow (2004). The book also includes a comprehensive filmography of films that deal with environmental themes and issues.

Although some credit the environmental movement of the 1970s, with its profound impact on children's television programs and movies, for paving the way for later eco-films, the history of environmental expression in animated film reaches much further back in American history, as That's All Folks? makes clear. Countering the view that the contemporary environmental movement—and the cartoons it influenced—came to life in the 1960s, Robin L. Murray and Joseph K. Heumann reveal how environmentalism was already a growing concern in animated films of the 1930s, 1940s, and 1950s. From Felix the Cat cartoons to Disney's beloved Bambi to Pixar's Wall-E and James Cameron's Avatar, this volume shows how animated features with environmental themes are moneymakers on multiple levels—particularly as broad-based family entertainment and conveyors of consumer products. Only Ralph Bakshi's X-rated Fritz the Cat and R-rated Heavy Traffic and Coonskin, with their violent, dystopic representation of urban environments, avoid this total immersion in an anti-environmental consumer market. Showing us enviro-toons in their cultural and historical contexts, this book offers fresh insights into the changing perceptions of the relationship between humans and the environment and a new understanding of environmental and animated cinema.

Eco-disasters such as coal-mining accidents, oil spills, and food-borne diseases appear regularly in the news, making them seem nearly commonplace. These ecological crises highlight the continual tensions between human needs and the environmental impact these needs produce. Contemporary documentaries and feature films explore environmental-human conflicts by depicting the consequences of our overconsumption and dependence on nonrenewable energy.Film and Everyday Eco-disasters examines changing perspectives toward everyday eco-disasters as reflected in the work of filmmakers from the silent era forward, with an emphasis on recent films such as Dead Ahead, an HBO dramatization of the Exxon Valdez disaster; Total Recall, a science fiction action film highlighting oxygen as a commodity; The Devil Wears Prada, a comment on the fashion industry; and Food, Inc., a documentary interrogation of the food industry. The authors evaluate not only the success of these films as rhetorical arguments but also their rhetorical strategies. This interdisciplinary approach to film studies fuses cultural, economic, and literary critiques in articulating an approach to ecology that points to sustainable development as an alternative to resource exploitations and their associated everyday eco-disasters.

Godzilla, a traditional natural monster and representation of cinema’s subgenre of natural attack, also provides a cautionary symbol of the dangerous consequences of mistreating the natural world-monstrous nature on the attack. Horror films such as Godzilla invite an exploration of the complexities of a monstrous nature that humanity both creates and embodies.Robin L. Murray and Joseph K. Heumann demonstrate how the horror film and its offshoots can often be understood in relation to a monstrous nature that has evolved either deliberately or by accident and that generates fear in humanity as both character and audience. This connection between fear and the natural world opens up possibilities for ecocritical readings often missing from research on monstrous nature, the environment, and the horror film.Organized in relation to four recurring environmental themes in films that construct nature as a monster-anthropomorphism, human ecology, evolution, and gendered landscapes-the authors apply ecocritical perspectives to reveal the multiple ways nature is constructed as monstrous or in which the natural world itself constructs monsters. This interdisciplinary approach to film studies fuses cultural, theological, and scientific critiques to explore when and why nature becomes monstrous.

Most film critics point to classic conflicts - good versus evil, right versus wrong, civilization versus savagery - as defining themes of the American Western. In this provocative examination of Westerns from Tumbleweeds (1925) to Rango (2011), Robin L. Murray and Joseph K. Heumann argue for a more expansive view that moves beyond traditional conflicts to encompass environmental themes and struggles. The environment, after all, is the fundamental stage for most western stories, from land rush dramas that pit ""sod busters"" against ranchers to conflicts between mining-town communities and corporations. Because environmental issues lie at the forefront of so many conflicts today, Murray and Heumann believe that the Western is ripe for such new examination.Drawing on perspectives from both film studies and environmental history, the authors show how western films frequently deal with issues related to land use and different ways of looking at the natural world. In films as diverse as Gene Autry musicals, early John Wayne B-Westerns, and revisionist critiques such as the 2010 remake of True Grit, resources are exploited in the name of progress. Beginning with an analysis of two iconic Westerns, Shane and The Searchers, Murray and Heumann identify the environmental dichotomies - previously overlooked by critics - that are broached in both films, and they clarify the history that lies behind the environmental debates in these films and many others.How do Westerns respond to the historical contexts they present? And what do those responses suggest about American views of nature and its exploitation? The conflicts these movies address grow out of differing views of progress, frequently in relation to technology. The authors show that such binary oppositions tend to blur when examined closely, demonstrating that environmental issues are often more complex than we realize.

This book explores the transformative power of comedy to help connect a wider audience to films that explore environmental concerns and issues. This book offers a space in which to explore the complex ways environmental comedies present their eco-arguments. With an organizational structure that reveals the evolution of both eco-comedy films and theoretical approaches, this book project aims to fill a gap in ecocinema scholarship. It does so by exploring three sections arranged to highlight the breadth of eco-comedy: I. Comic Genres and the Green World: Pastoral, Anti-Pastoral, and Post-Pastoral Visions; II. Laughter, Eco-Heroes, and Evolutionary Narratives of Consumption; and III. Environmental Nostalgia, Fuel, and the Carnivalesque. Examining everything from Hollywood classics, Oscar winners, and animation to independent and international films, Murray and Heumann exemplify how the use of comedy can expose and amplify environmental issues to a wider audience than more traditional ecocinema genres and can help provide a path towards positive action and change.Ideal for students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of popular films.

This book explores the transformative power of comedy to help connect a wider audience to films that explore environmental concerns and issues. This book offers a space in which to explore the complex ways environmental comedies present their eco-arguments. With an organizational structure that reveals the evolution of both eco-comedy films and theoretical approaches, this book project aims to fill a gap in ecocinema scholarship. It does so by exploring three sections arranged to highlight the breadth of eco-comedy: I. Comic Genres and the Green World: Pastoral, Anti-Pastoral, and Post-Pastoral Visions; II. Laughter, Eco-Heroes, and Evolutionary Narratives of Consumption; and III. Environmental Nostalgia, Fuel, and the Carnivalesque. Examining everything from Hollywood classics, Oscar winners, and animation to independent and international films, Murray and Heumann exemplify how the use of comedy can expose and amplify environmental issues to a wider audience than more traditional ecocinema genres and can help provide a path towards positive action and change.Ideal for students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of popular films.

Illuminating the impacts of environmental disasters and climate crises globally, this book examines the experiences of teens grappling with eco-disasters and issues in films of the twenty-first century.With an emphasis on teen activism, international settings and filmmakers, and marginalized perspectives, this book showcases teens on film that are struggling with present and future everyday eco-disasters amplified by climate change. By highlighting and interrogating diverse genres of teen films in which young adults encounter, address, and battle environmental issues and calamities while also struggling with adolescent development, this book acknowledges the young adult point of view missing from most critical ecocinema research and underlines connections between the more complex ‘coming-of-age’ themes found in teen films with ecocinema themes and approaches. The films examined navigate increasingly realistic conditions, even in fantastical settings, as they showcase teens’ relationships with and responses to environmental issues and eco-disasters. Emphasizing teen activism and under-represented intersectional perspectives outside Hollywood, it establishes the eco-teen film as a notable subgenre.This book will be of interest to students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of films.

Illuminating the impacts of environmental disasters and climate crises globally, this book examines the experiences of teens grappling with eco-disasters and issues in films of the twenty-first century.With an emphasis on teen activism, international settings and filmmakers, and marginalized perspectives, this book showcases teens on film that are struggling with present and future everyday eco-disasters amplified by climate change. By highlighting and interrogating diverse genres of teen films in which young adults encounter, address, and battle environmental issues and calamities while also struggling with adolescent development, this book acknowledges the young adult point of view missing from most critical ecocinema research and underlines connections between the more complex ‘coming-of-age’ themes found in teen films with ecocinema themes and approaches. The films examined navigate increasingly realistic conditions, even in fantastical settings, as they showcase teens’ relationships with and responses to environmental issues and eco-disasters. Emphasizing teen activism and under-represented intersectional perspectives outside Hollywood, it establishes the eco-teen film as a notable subgenre.This book will be of interest to students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of films.

In Ecocinema in the City, Murray and Heumann argue that urban ecocinema both reveals and critiques visions of urban environmentalism. The book emphasizes the increasingly transformative power of nature in urban settings, explored in both documentaries and fictional films such as Children Underground, White Dog, Hatari! and Lives Worth Living. The first two sections—"Evolutionary Myths Under the City" and "Urban Eco-trauma"—take more traditional ecocinema approaches and emphasize the city as a dangerous constructed space. The last two sections—"Urban Nature and Interdependence" and "The Sustainable City"—however, bring to life the vibrant relationships between human and nonhuman nature. Ecocinema in the City provides a space to explore these relationships, revealing how ecocinema shows that both human and nonhuman nature can interact sustainably and thrive.