Invisible Landscapes
Extreme Oil and the Arctic in Experimental Film and Activist Art Practices
Bibliographic Data
| ID | 20076161 |
|---|---|
| Authors | Lisa E Bloom (0009-0003-8226-3356, University of California, Los Angeles, corresponding author) |
| Year | 2017 |
| Pages | 183-195 |
| Publication date | 2017-01-01 |
| Open Access | Yes |
| Type | CHAPTER |
| Venue | Arctic Environmental Modernities (SOURCE_BOOK) |
| Publisher | Springer International Publishing (PUBLISHER • SG) |
| DOI | 10.1007/978-3-319-39116-8_11 |
| OpenAlex | W2588023015 |
| ISBN | 9783319391168 |
| Language | EN |
| References cited | 4 |
This chapter examines the global interconnectedness of the Arctic and the role of climate change and resource extraction in contemporary environmentalist art. The author analyzes the effects of replacing the “natural” with an “industrial sublime” in Ursula Biemann’s Deep Weather (2013). She then considers the application of “modes of intimacy” deployed by the use of opera in Brenda Longfellow’s Dead Ducks (2012) and charts the use of amateur aesthetics and popular culture in The Yes Men: But It’s Not That Polar Bear Thing (2013). These experimental films and videos present images of global warming, climate change, and environmentalism that are not apocalyptic or sentimental, going beyond the spectacular icons of climate change, such as calving and melting glaciers or anthropomorphized melancholic polar bears
Aesthetics · Amateur · Archaeology · Arctic · Art · Art history · Climate change · Environmental ethics · Environmentalism · Geography · Glacier · Global warming · Physical geography · Political science · Politics · Sublime · The arctic · Climate Change Communication and Perception · Ecocriticism and Environmental Literature · Geographies of human-animal interactions · History · Law · Philosophy · Oceanography
| Highly cited | No |
|---|