KINO! 51

Film and Ecology

Table of Contents

Film and Ecology

From the Beginning to the End of the Climate Crisis, Tadej Troha

Modes of Representing Nature in Films, Tomaž Grušovnik

From Nature to Nature by Nature: The History of Representing Nature and Dark Ecology, Kaja Kraner

Farmer–Filmmakers, Fieldwork, and Growth, Becca Voelcker

Vegetal Film, Aljaž Škrlep

Inside a Body Beyond Consciousness, Oskar Ban Brejc

The Emerging and Submerging of the Human Subject.. Subject and Substance, the Real and Thing, Difference and One in Ema Kugler’s Films, Robert Kuret

The Limits of Film, Maks Valenčič

Alex Garland’s Annihilation as the Birth of New Modes of Ecohorror, Veronika Šoster

The (Non)Acceptance of Changes: The Intersection of Body and Eco Horror, Neja Rakušček

Oppenheimer. Everything you wanted to know about American exceptionalism, the military-industrial complex and cancel culture, but Christopher Nolan failed to tell you. Or did he?, Polona Petek

The General Line of Our Daily Bread, Matjaž Zorec

Humans, Train, Nature. (Not Only) Documentaries and the Reconstruction of Post-World-War-Two Yugoslavia, Martin Pogačar

The Sun (in middle shot), Lukas Debeljak

FILM AND TV STUDIES – PEER-REVIEWED

Cinema as a Transformative Agency Within Art and its Reflections, Darko Štrajn

15.50 €

Film and Ecology

With a number of diverse studies, this special edition examines film and ecology. In his metatext, Tadej Troha considers the beginning and the end of climate crisis, Tomaž Grušovnik paints the modes of representing nature in films, while Kaja Kraner provides the historical premises of representing nature, foregrounding the term dark ecology. Based on unusual experiments, Becca Voelcker thinks about farmer-filmmakers, fieldwork and growth. Aljaž Škrlep presents vegetal film, while Maks Valenčič deals with film as a medium of encoding information and considers the limits of film. Oskar Ban Brejc centres on De Humani Corporis Fabrica by Sensory Ethnography Lab, while Polona Petek analyses Christopher Nolan’s Oppenheimer. Based on the case study of Alex Garland’s Annihilation, Veronika Šoster and Neja Rakušček question ecohorror and the new modes of the ecologically horrifying, while Matjaž Zorec serves the general line of our daily bread. Robert Kuret reflects on new materialisms that develop philosophy in relation to ecology in Ema Kugler’s film oeuvre, while Martin Pogačar thinks about humans, trains and nature through (not only) a documentary reconstruction of post-war Yugoslavia. In the Reviewed section, Darko Štrajn presents cinema as a transformative agency in art and its echoes.