Reflexive Filmmaking for Wildlife and Nature Films


Book Description

Historically, wildlife and nature filmmakers have embraced the expository mode of filmmaking and a realistic style, attempting to influence their audience with compelling arguments. However, while their scripts may call for activism, their expository, realistic style, with hidden production methods, an authoritative tone, and pristine visuals, instead encourages voyeurism. In addition, standard theater and television distribution methods offer no outlet for action to viewers who do feel inspired. I offer a different model for influence in my wildlife series Nature Break: reflexive filmmaking. In this series I use such reflexive strategies to critique the voyeuristic way in which spectators consume wildlife and nature films. However, critiquing passive spectators with reflexivity is not the same as creating active spectators. Therefore, with Nature Break I go beyond simply making and distributing a film. Additionally, I will create a related website on the Internet as a platform for viewers to post their own films, discuss issues inspired by films on the site, and coordinate activism efforts. Through Internet distribution, the Nature Break series can finally live up to the reflexive filmmaker's goal of creating an art that leads to activism.




Cameras into the Wild


Book Description

The cinematographers and directors who shot film in wilderness areas at the turn of the 19th century are some of the unsung heroes of documentary film-making. Apart from severe weather conditions, these men and women struggled with heavy and cumbersome equipment in some of the most unforgiving locales on the planet. This groundbreaking study examines nature, wildlife and wilderness filming from all angles. Topics covered include the beginnings of film itself, the first attempts at nature and expedition filming, technical developments of the period involving cameras and lenses, and the role film has played in wilderness preservation. The individual contributions of major figures are discussed throughout, and a filmography lists hundreds of nature films from the period.




The Media, Animal Conservation and Environmental Education


Book Description

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.




Go Wild with Your Camcorder - How to Make Widlife Films


Book Description

Packed with information and advice acquired over years of teaching wildlife filmmaking, Warren guides readers through all aspects of making a wildlife film from choosing a camcorder to editing the final product.




Beyond the Image


Book Description

Documentaries with science and nature as their subject matter have a great, untapped potential for art virtually unexplored in the history of film. A look at the general trend of these films shows a steady progression attempting more subjective and reflexive treatments of material, but science documentaries today are generally stuck in the classical expository mode. This lack of progression in films with scientific subject (including nature and wildlife) subject matter is largely due to producers unwillingness to break from the conventions of genre. In their attempts to create art instead of craft, the next generation of science and wildlife filmmakers will recognize that the promise of art rests in its ability to restructure symbolic representation and therefore change how an audience understands the world. This restructuring of symbolic representation is important and necessary because of hidden and oppressive ideological forces in society ratified by normal symbols. The new generation of science documentary creator will discard the notion of film images as facts and instead pursue a more ambiguous goal of truth. This may involve fabrication; a lie that makes us know the truth. Several individuals serve as examples in this endeavor, such as Brecht, Bunuel, Morris and Herzog. In their works, these artists employ reflexive techniques that elevate viewers consciousness. My own thesis film project, The Last Run (2006), demonstrates some of these techniques more successfully than others. Creators of the new science and nature documentary must break step with decades of established conventions, moving beyond a literal, objective perspective and embracing an imaginative, subjective treatment of their material. These new artistic science and wildlife filmmakers will have three goals: 1) Escape from genre and its binary tendencies; 2) Make art by altering symbolic meanings or representations; and 3) Choose subjects of political (even controversial) or personal importance that are uncommon in todays television programs about science and nature.




Making Wildlife Movies


Book Description




Wildlife Films


Book Description

If, as many argue, movies and television have become Western culture's premier storytelling media, so too have they become, for most members of society, the primary source of encounters with the natural world—particularly wild animals. The television fare offered nightly by national and cable networks such as PBS and the Discovery Channel provides millions of viewers with their only experience of the wilderness and its inhabitants. The very films that so many viewers take as accurate portrayals of wildlife, however, have evolved primarily as a form of entertainment, following the established codes and conventions of narrative exposition. The result has been not the representation of nature, but its wholesale reconstruction and reconfiguration according to film and television conventions, audience expectations, and the demands of competition in the media marketplace. Wildlife Films traces the genealogy of the nature film, from its origins as the "animal locomotion" studies that mark the very beginnings of motion pictures themselves, to the founding of the Animal Planet cable channel that boasts "all animals, all the time." The narrative and thematic elements that unite wildlife films as a genre have their roots not in the documentary film tradition, but in the older traditions of oral and written animal fables as reflections of human society. Derek Bousé contends that classic wildlife films often portray animal protagonists living in families modeled on an ideal of the human nuclear family and working in communities that resemble an ideal of bucolic human society. In these stories—presented as documentaries—animals are motivated by human emotions and conduct relationships according to human customs. This imposition of culturally satisfying narrative patterns upon the lives of animals has not only led to the misrepresentation of the natural world; it has promoted the notion that our values, our moral vision, our models of society and family structure derive from nature, rather than being cultural formations.




Ecocinema Theory and Practice


Book Description

This is an anthology that offers a comprehensive introduction to the rapidly growing field of eco-film criticism, a branch of critical scholarship that investigates cinema's intersections with environmental understandings.




Documentary Film: A Very Short Introduction


Book Description

Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet's heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking--its definitions and purposes, its forms and founders--Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary's core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of "100 great documentaries" that anyone with a serious interest in the genre should see. Drawing on the author's four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.




The Documentary Filmmaker's Roadmap


Book Description

The Documentary Filmmaker’s Roadmap is a concise and practical guide to making a feature-length documentary film—from funding to production to distribution, exhibition and marketing. Using her award-winning film Musicwood—a New York Times Critics’ Pick—as a case study, director Maxine Trump guides the reader through the complex lifecycle of the documentary Film. Her interviews with lawyers, funders, distributors, TV executives and festival programmers provide a behind-the-scenes look that will assist readers on their own filmmaking journey. Written from the perspective of a successful documentary filmmaker, the book covers mistakes made and lessons learned, a discussion on the documentary genre, crowdfunding, pre-production through post, test screenings, the festival circuit distribution, legal pitfalls, fair use and more. Perfect for documentary filmmaking students and aspiring filmmakers alike, this book emphasizes the skills needed to succeed in a competitive production market. An appendix includes useful web links for further study, a list of films for recommended viewing and sample release forms. This concise guide is ideal for the classroom or as a quick reference out in the field, at a budget meeting or in the editing room.