(E-Book - Nonfiction - Sociology - Eng) - Hollywood Utopia E.pdf

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Pat Brereton

Ecology in Contemporary American Cinema

“...Its clarity, its reach, its

honesty and its originality should

ensure this book a place on the

shelves of any media scholar and

many Green activists.”

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Utopianism, alongside its more prevalent dystopian

opposite, together with ecological study has

become a magnet for interdisciplinary research

and is used extensively to examine the most

influential global medium of all time.

This book applies a range of interdisciplinary

strategies to trace the evolution of ecological

representations in Hollywood film from the 1950s

to the present. Such a study has not been done on

this scale before. Many popular science fiction,

Westerns, nature and road movies are extensively

analysed, while privileging particular ecological

moments of sublime expression often dramatized

in the closing moments of these films.

Dr. Pat Brereton is Chair of

the B.Sc. in Multimedia,

and a Lecturer in Film and

Media Studies at Dublin

City University.

Contents include:

• Hollywood Utopia: Ecology and Contempoary American

• Cinema

• Nature Film and Ecology: Westerns, Landscape and Road

• Movies

• Conspiracy Thrillers and Science Fiction: 1950s to1990s

• Postmodernist Science Fiction Films and Ecology

This book offers an intriguing and ambitious prospect: an

attempt to unearth the emergence of an ecologically-based

worldview pervading at least Western consciousness. The

author adopts a Raymond Williams-style approach to this

project, engaging in deep textual analysis of the Hollywood

blockbuster with a view to identifying whether those projects

are implicitly informed by some kind of subliminal eco-

consciousness.

(Dr. Roddy Flynn, Dublin City University)

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The fruit of years of painstaking study, Pat Brereton's Hollywood Utopia is a

landmark in the emerging field of ecological media criticism. The more urban

human societies become, the more our media reflect upon the landscapes, the

animals and the fragile unities of our planet. Of no media formation is this more

true than of Hollywood, as Brereton argues in this meticulously researched and

carefully organised work. Far from trashing the planet, Hollywood films have,

Brereton claims, a tradition stretching back to the 1950s of care and concern for

humanity estranged from its roots, and a world at risk of destruction. Through

innovative analyses of Jurassic Park , Easy Rider , Thelma and Louise , Star Trek,

Terminator 2 and Blade Runner among countless older and newer films, Brereton

traces a utopianism often overlooked in traditional film criticism. Not only films

with explicitly Green agendas like Emerald Forest and Medicine Man , but in films

noted for far different qualities exhibit the saving grace of nature. Films like

Dances With Wolves or the towering spectacle of the tornado's heart in Twister

provide grist for an original and far-reaching account of the place of nature in

contemporary popular cinema. Dissent and disorder emerge in science fiction

films of the 1950s and blockbusters of the early 21st century. The book traces

complex negotiations with the meanings of nature and humananity's place in it

through costume dramas and high-tech special effects bonanzas, always with an

eye to the telling contradiction and the emergence of a generalised and liberal but

nonetheless impressive and perhaps heartfelt need to restore the bonds that have

been sundered between humans and their environment. To these analyses

Brereton adds a powerful and persuasive thesis concerning the spatial concerns of

contemporary Hollywood, a thesis that leads him through a broad overview of the

literature of green cultural studies and postmodernism. Throughout, Brereton

manages an easy, graceful prose to immense purpose. Its clarity, its reach, its

honesty and its originality should ensure this book a place on the shelves of any

media scholar and many Green activists, The ultimate optimism of its case is a

challenge to other critics to write for makers and audiences who want more from

cinema, both the cinema we have and the cinema we may yet make in the new

century.

(Sean Cubitt, University of Waikato, New Zealand)

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