Film And Television Production In The Age Of Climate Crisis

This volume brings together a range of voices from across the global environmental media community to build a comparative international set of perspectives on ‘green’ film and television production. Through this, it provides a necessary intervention in environmental media studies that actively foregrounds media infrastructure, production, policy, and labour – that is, the management and practice of media production cultures. Due to its immense sociocultural influence and economic resources, the global screen media industry is at the forefront of raising awareness for the political and social issues resulting from accelerated environmental instability. However, the 21st century relationship between screen media and the environment has another face that demands urgent scrutiny. The advent of the digital age and the vast electrical and Information and Communication Technologies (ICT) infrastructures required to support digital production, distribution, and archiving has resulted in the rapid expansion and diversification of the industry’s resource use, infrastructure construction, energy dependency, and consequent waste and emissions production. Addressing these structures is essential to alleviating their environmental and social impact and ensuring that the industry’s rhetoric on environmental responsibility is reflected in its practice. As a mitigating counterbalance to the above trends, there has been a heightenedpush for sustainability measures along various lines of industry management, policy, and practice. These initiatives—including the cultural values they reflect, the political economies that form their logic, the managerial and marketing tactics that orchestrate them, and the environmental realities of their implementation—form the central object of inquiry for this collection.

This edited volume offers a global overview of the immediate impacts the COVID pandemic had on local and national film, television, streaming, and social media industries—examining in compelling detail how these industries managed the crisis. With accounts from the frontlines, Media Industries in Crisis provides readers with a stakeholder framework, management lessons, and urgent commentaries to unpack the nature of crisis management and communications. The authors show how these industries have not only survived, but often thrive amidst a backdrop of critical national and regional emergencies, wars, financial meltdowns, and climate disasters. This international collection—featuring case studies from 16 countries—examines how media industries managed all of these crises, successfully rebranding themselves as “essential” while making power plays in politics, economics, and culture. The chapters reveal key lessons for the meltdowns, tectonic shifts, and struggles ahead. This collection will be of interest to media and communication students, particularly those focused on media industries, crisis communications, and management, as well as to practitioners working in media industries.

CLEAN and RENEWABLE ENERGY PRODUCTION According to the World Renewable Energy Council (WREC), by the year 2100, the world's population will increase to 12 billion and the worldwide energy demand will increase steeply to about five times the present scenario. Researchers are striving to find alternative forms of energy, and this quest is strongly forced by the increasing worry over climate change and planetary heating. Among the diverse varieties of alternative energy sources, biomass has the singular advantage of being carbon neutral. The carbon that is discharged to the atmosphere during its exercise is read back during the utilization of biomass resources for energy output. Currently, biomass provides approximately 13% of the world's primary energy supply and more than 75% of global renewable energy. Indeed, it is estimated that bioenergy could contribute 25–33% of the global energy supply by 2050. Continued adoption of biomass will require efficient conversion rates and avoidance of competition with food and fibers. This book focuses on the recent practices in clean energy and renewable energy. The contributors highlight how newer technologies are reducing the dependency on non-renewable resources, benefiting the researchers who are working in the area of clean and renewable energy production. This new volume will also benefit mechanical engineers, electrical engineers, and bioengineers as they will be updated with the recent work progressing all over the globe. It will benefit the professionals working in the renewable energy sector such as solar, wind, hydrothermal, hydrogen, and bioenergy, including professors, research scholars, industry professionals, and students working in this field.

Employing a unique generational approach, this book critically assesses social media in educational contexts across all educational levels: from primary and secondary schools to further and higher education, proposing a schema for social media literacy (SML). Using research obtained from fieldwork observations conducted in online teaching groups, surveys, and in-depth interviews with teachers and educators on the topic of social media and education, chapters interrogate the historical relationship between educator and learner, and use the frame of expert methodology to understand what educators themselves consider important about social media and education relative to their sectors. Bringing together current literature from education, learning and media technologies, along with longstanding debates around technological influence, chapters also draw on audience and communication studies, psychology and arts and humanities at a time when many different disciplines are trying to understand what social media means to our society. This interdisciplinary volume will be of great interest to academics, researchers and postgraduates in the fields of technology in education, media literacy, and critical digital media. Practitioners involved in the sociology of education will also find the book of use.

For centuries, the Arctic was visualized as an unchanging, stable, and rigidly alien landscape, existing outside twenty-first-century globalization. It is now impossible to ignore the ways the climate crisis, expanding resource extraction, and Indigenous political mobilization in the circumpolar North are constituent parts of the global present. New Arctic Cinemas presents an original, comparative, and interventionist historiography of film and media in twenty-first-century Scandinavia, Greenland, Russia, Canada, and the United States to situate Arctic media in the place it rightfully deserves to occupy: as central to global environmental concerns and Indigenous media sovereignty and self-determination movements. The works of contemporary Arctic filmmakers, from Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and Inuk Silis Høegh, reach worldwide audiences. In examining the reach and influence of these artists and their work, Scott MacKenzie and Anna Westerstahl Stenport reveal a global media system of intertwined production contexts, circulation opportunities, and imaginaries--all centering the Arctic North.

The Routledge Handbook of Ecomedia Studies gathers leading work by critical scholars in this burgeoning field. Redressing the lack of environmental perspectives in the study of media, ecomedia studies asserts that media are in and about the environment, and environments are socially and materially mediated. The book gives form to this new area of study and brings together diverse scholarly contributions to explore and give definition to the field. The Handbook highlights five critical areas of ecomedia scholarship: ecomedia theory, ecomateriality, political ecology, ecocultures, and eco-affects. Within these areas, authors navigate a range of different topics including infrastructures, supply and manufacturing chains, energy, e-waste, labor, ecofeminism, African and Indigenous ecomedia, environmental justice, environmental media governance, ecopolitical satire, and digital ecologies. The result is a holistic volume that provides an in-depth and comprehensive overview of the current state of the field, as well as future developments. This volume will be an essential resource for students, educators, and scholars of media studies, cultural studies, film, environmental communication, political ecology, science and technology studies, and the environmental humanities.

In The Fold, Laura U. Marks offers a practical philosophy and aesthetic theory for living in an infinitely connected cosmos. Drawing on the theories of Leibniz, Glissant, Deleuze, and theoretical physicist David Bohm—who each conceive of the universe as being folded in on itself in myriad ways—Marks contends that the folds of the cosmos are entirely constituted of living beings. From humans to sandwiches to software to stars, every entity is alive and occupies its own private enclosure inside the cosmos. Through analyses of fiction, documentary, and experimental movies, interactive media, and everyday situations, Marks outlines embodied methods for detecting and augmenting the connections between each living entity and the cosmos. She shows that by affectively mediating with the ever-shifting folded relations within the cosmos, it is possible to build “soul-assemblages” that challenge information capitalism, colonialism, and other power structures and develop new connections with the infinite. With this guide for living within the enfolded and unfolding cosmos, Marks teaches readers to richly apprehend the world and to trace the processes of becoming that are immanent within the fold.