'Affective' witnessing and testimony in contemporary environmental cinema

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dc.contributor.authorKonik, Inge
dc.date.accessioned2021-05-28T07:10:37Z
dc.date.available2021-05-28T07:10:37Z
dc.date.issued2018
dc.description.abstractThis article advances that through incorporating registers of affect, environmental cinema might better approximate its socially and ecologically transformative goals. A film in which this has been attempted is Fisher Stevens’s Before the Flood (2016), and it is contended here that for this reason the film holds promise despite the weakness of some of its proposed solutions to climate deterioration. An analysis of the film is offered, during which certain of Julie Doyle’s, Nathan Farrell’s and Michael Goodman’s reservations about Before the Flood are countered, drawing particularly on Anton Van der Hoven and Jill Arnott’s arguments in favour of affective cinema. Indeed, a pro-affective film-making approach finds theoretical support in the perspectives of materialist ecological feminists and African philosophers on the role of affect and emotion in being fully human. The article concludes that affect should be recuperated and strategically included within cultural products and interactions, particularly if these aim to engender significant socio-cultural change.en_ZA
dc.description.versionPublisher's versionen_ZA
dc.identifier.citationKonik, I. (2018). ‘Affective’witnessing and testimony in contemporary environmental cinema. Acta Academica: Critical views on society, culture and politics, 50(3), 29-48.en_ZA
dc.identifier.issn2415-0479 (online)
dc.identifier.issn0587-2405 (print)
dc.identifier.urihttp://hdl.handle.net/11660/11151
dc.language.isoenen_ZA
dc.publisherUniversity of the Free Stateen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA
dc.subjectActa Academicaen_ZA
dc.subjectAffecten_ZA
dc.subjectEmotionen_ZA
dc.subjectEnvironmental cinemaen_ZA
dc.subjectEcological crisisen_ZA
dc.subjectClimate changeen_ZA
dc.subjectWitnessingen_ZA
dc.subjectTestimonyen_ZA
dc.title'Affective' witnessing and testimony in contemporary environmental cinemaen_ZA
dc.typeArticleen_ZA
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AA 2018 Volume 50 Issue 3