Ecocritical Perspectives on Nordic Cinema: From Nature Appreciation to Social Conformism

Author(s):  
Pietari Kääpä
2012 ◽  
Vol 6 (3) ◽  
pp. 357-388
Author(s):  
John C. Tinnell

Arguably, two of the most important forces affecting contemporary global culture are the growing awareness of ecological crises and the rapid spread of digital media. Félix Guattari's unfinished concept of ecosophy suggests the basis of a theoretical framework for constructing productive syntheses between the ecological and the digital. Moreover, a Guattarian rethinking of the ecological turn in the humanities challenges the philosophical basis of the pedagogy of Nature appreciation that has characterised the eco-humanities landscape since the 1970s. Guattari's ecosophy gestures towards a transversal eco-humanities, which would be rhizomatically rooted in autopoiesis and becoming-other, rather than defined by static allegiance to the ideals of ‘Self-realisation’ postulated by the deep ecology movement.


2021 ◽  
Vol 11 (1) ◽  
pp. 103-112 ◽  
Author(s):  
Andrew Nestingen

Editing the volume Nordic Noir, Adaptation, Appropriation with Linda Badley and Jaakko Seppälä made evident historical changes in the role of adaptation in Nordic audio-visual culture. An earlier generation of auteurs such as Aki Kaurismäki used adaptation to align themselves with aesthetic and philosophical bodies of texts, what we might call ‘networks of similarity’, following Luis M. García Mainar. In the rise of Nordic noir since the millennium, Nordic cinema and television’s networks of similarity change. The auteurs used adaptation to establish modernist originality of vision. In the current moment, this quality has diminished, and adaptation increasingly figures in broader, more densely cross-referential networks of similarity, of which Nordic noir is arguably an instantiation. These are defined by aesthetic and sociopolitical associations, more so than originality. These associations figure in practitioners’ and textual consumers’ use of response to and replication of the noir texts and their networks in a variety of media. This activity can be understood as a type of branding that aligns with attempts at national and regional branding.


Author(s):  
Lars Lyngsgaard Fjord Kristensen

In a region that is traditionally considered to be transnational, Nordic cinema has often posed as the prime case for a transnational cinema. The paper contests this notion of Nordic transnationality by analysing two films that depict two Russian women travelling to Sweden. Interdevochka/Intergirl (Todorovski, 1989, USSR) and Lilya-4-ever (Moodysson, 2004, Sweden) challenge the inclusiveness of the region and make explicit the fact that Russian identities are not part of the homogenous mixture of the region. Instead, Russian identities of cross-border prostitution are cinematically subjected to rejection and victimisation. This paper examines how Lilya-4-ever adheres to a European anxiety narrative by performing a Russian return narrative and how Interdevochka/Intergirl portrays ‘the fallen soviet woman’ by travelling to Sweden. These cinematic representations of the female Russian identity travelling to Sweden differ from each national context, but by probing into a comparative analysis the paper will reveal that both films need the Other to narrate these stories of transnational labour migration.


2021 ◽  
Vol 2 (4) ◽  
pp. 625-635
Author(s):  
Ellie Helen Cozens-Keeble ◽  
Rachel Arnold ◽  
Abigail Newman ◽  
Marianne Sarah Freeman

Zoological collections are rapidly changing from a place of entertainment to centers of education. Many zoological collections run holiday and weekend clubs with activities aimed at inspiring and enthusing the next generation. The COVID-19 pandemic saw zoological collections across the world closing, leading a need for alternative educational content. Edinburgh Zoo, UK converted their summer school to a virtual provision. This provided a unique opportunity to determine the effectiveness of online zoological education by investigating if engagement levels differ for family groups when education is ‘live’, ‘recorded’ or ‘activity’ based. A total of 235 participants signed up for the Virtual Summer School, which comprised of 46 separate activities. Submissions, comments and polls were coded for content level and activity type. Results show that the overall engagement was higher for the live sessions compared to the recorded content; however, the content level was higher for activities. Content level increased over the week and there was a higher reported nature appreciation at the end of the Virtual Summer School. These findings provided evidence to suggest that online holiday zoo education can engage and inspire and gives insight on how to maximize the engagement and knowledge acquisition when using these online platforms.


2000 ◽  
Vol 6 (2) ◽  
pp. 89 ◽  
Author(s):  
Penny Van Oosterzee

While not denying that tourism has environmental impacts, tourism's potential to aid biodiversity conservation world-wide is great and needs to be harnessed. However, unless precisely explained, the notion of ecotourism clouds the role of tourism in nature conservation. Therefore I define ecotourism as all visits that focus on nature appreciation and the associated infrastructure (park facilities, tours, accommodation, airlines that bring tourists to the area etc.) that supports these visits. This definition, which is used throughout this paper, helps eliminate the false distinction being made between tourism and ecotourism. Tourism, at the international and national political level, has an influential role as a force for biodiversity conservation by being a rationale for plaCing extra land in conservation reserves, or otherwise by sustainably managing natural areas for their natural values. Using World Heritage Areas (WHA) as an example - perhaps even as an indicator of tourism and its impacts on natural areas ? the little information available suggests that tourism is not often a threat, but that warfare, clearing for agriculture, and poaching are. Regions with an intact tourism industry are also those more likely to have an intact ecosystem. National parks do act as a catalyst for tourism growth. The question is whether tourism can deliver the financial means to undertake management to neutralize the impacts of tourism on biodiversity, or, perhaps more importantly, to fund more extensive works for biodiversity conservation? Few rigorous economic studies have been carried out to provide answers to this question; to define the link between biodiversity conservation and tourism, and to explore ways of making tourism maintain and expand the resource on which its profits are based, thus making the industry world-wide a major force for conservation.


Parnassus ◽  
1932 ◽  
Vol 4 (7) ◽  
pp. 33
Author(s):  
A. Philip MeMahon ◽  
George Howard Opdyke
Keyword(s):  

2019 ◽  
Vol 11 (1) ◽  
pp. 240 ◽  
Author(s):  
Mauricio Carvache-Franco ◽  
Marival Segarra-Oña ◽  
Conrado Carrascosa-López

Among tourists, there is recently a growing interest in the environment and enjoying the natural world. This study analyzed the motivations and segmentation of the demand for ecotourism, using functional theory as a reference point. Empirical analysis was carried out in Santay National Recreation Area, Morro Mangrove Wildlife Refuge, and Samanes National Recreation Area. The sample included 382 surveys, obtained in situ using the simple random sampling method. Factorial analysis and non-hierarchical segmentation were performed to analyze the data. The results indicate that there are several motivational dimensions in ecotourism, including self-development, interpersonal relationships and ego-defensive function, building personal relationships, escape reward, and nature appreciation. We also identified three different segments of ecotourists based on their motivations—nature, multiple motives, and reward and escape—as well as the characteristics of the different segments. The present investigation will help public institutions and private companies improve their tourism offerings and develop more efficient marketing plans.


2015 ◽  
pp. 47-58
Author(s):  
Gunnar Iversen

Nordic cinema since the 2000s has turned to history to a greater degree than before, employing historical subject matter and settings to entertain, show off costumes and tell stories, but also to contribute with images and sounds to what historian Robert A. Rosenstone calls ‘that larger History . . . that web of connections to the past that holds a culture together, that tells us not only where we have been but also suggests where we are going’. This chapter discusses the connections to the past made by the genre of the historical film. By historical film I mean films that create stories that take place in the past and not the present. The main questions are: How do Nordic filmmakers interpret and construct Nordic history? How do Nordic filmmakers engage with the past? And, what constitutes history for current filmmakers in the Nordic countries? I discuss four different feature films, from four different countries, in order to show the scope of the new Nordic historical film and different varieties of engagement with the past.


Sign in / Sign up

Export Citation Format

Share Document