Acknowledgments
Introduction
Part One: On Location
1. Buster Keaton's Climate Change
2. Nuclear Conditioning
3. The Ecologies of Film Noir
Part Two: At the End of the World
4. Still Life
5. Antarctica and Siegfried Kracauer's Extraterrestrial Film
Theory
Conclusion: The Epoch and the Archive
Notes
Bibliography
Index
Jennifer Fay is Associate Professor of Film and English at Vanderbilt University where she also directs the Program in Cinema and Media Arts. Her books include Theaters of Occupation: Hollywood and the Reeducation of Postwar Germany (Minnesota, 2008) and Film Noir: Hard-Boiled Modernity and the Cultures of Globalization co-authored with Justus Nieland (Routledge, 2010).
"[A] stunningly original and deeply troubling book... Throughout
the text, Fay makes astonishing and compelling connections between
these films and the collapse of a once ecologically stable world.
The result is a groundbreaking, one-of-a-kind book destined to be a
classic. This is film criticism at its most urgent and impressive.
Essential." --CHOICE
"...[an] elegant new book..." -- Moira Weigel, Journal of Cinema
and Media Studies
"Jennifer Fay beautifully writes a wide-ranging and suggestive
theory of cinema in the atomic light of the Anthropocene." --
William Brown, University of Roehampton, London,
Film-Philosophy
"Compelling and brilliant on every page, Inhospitable Worlds shows
where film figures in the slow burn of the Anthropocene. In five
clearly drawn and meticulously documented studies running from
Keaton to noir, from China's three gorges to atomic testing sites
in Nevada, and from the South Pole to the Yukon, Fay draws
attention to contradictions and dilemmas at the core of cinema.
Crafting a strategy of melancholy to rethink its condition past
and
present, Fay turns criticism in new and definitive directions.
Anyone having concern about the condition of our planet must read
Inhospitable Worlds."-- Tom Conley, Abbott Lawrence Lowell
Professor of Visual and
Environmental Studies and of Romance Languages and Literatures,
Harvard University
"At a time when much of the world is consumed with anxiety about
the fate of the planet, Jennifer Fay shows us a way forward by
traveling backward ironically and locating our future in the
present. Inhospitable World reveals a history of cinema mobilized,
as it were, for the purposes of rendering and conveying a world
crisis as it unfolds. Cinema, in Fay's hands, is not only a
vehicle, nor merely a medium, but a technology designed in part to
capture
this crisis invisible elsewhere. Not only a breath-taking feat of
film scholarship, Inhospitable World is also a genuine contribution
to the task of critical thought in a time of despair. It serves as
an
exhortation."-- Akira Mizuta Lippit, T. C. Wang Family Endowed
Chair in Cinematic Arts, University of Southern California
"Inhospitable World teems with cinematic lessons in survival, from
the 'survival burlesques' of Buster Keaton to Bill Morrison's
chronicle of the Dawson City Film Find. But there's a catch: the
survivors of the Anthropocene may not be human. In Fay's arresting
account, cinema's profuse world-making hastens, even as it broods
on, the unmaking of human futurity. The history of film is retold
in these pages as a rehearsal for a world without us."--
Paul K. Saint-Amour, author of Tense Future: Modernism, Total War,
Encyclopedic Form
"Whereas other books have focused on "cli-fi" films that envision a
dystopian future, Inhospitable World embraces a highly eclectic
range of works with an often oblique or unexpected relation to the
subject of ecological inhospitality. Moreover, by tracing a broad
trajectory of films from the silent era to the present, Fay is able
to examine material shifts in cinematic production in tandem with
the mid-twentieth-century onset of the Great Acceleration,
which
has dissolved the longstanding distinction between the earth and
human world, the environment and socioeconomic order-or, in
Hegelian-Marxist terms, between first and second nature."--Film
Quarterly
"The provisional optimism of Fay's book... encourages us to push
beyond the easy moralism of so much work in the environmental
humanities...We need, in other words, to rethink film's power, not
simply as entertainment, but as education - as an ongoing series of
object lessons in how we make, see, and inhabit a changing world."
-- Brian Jacobson, Los Angeles Review of Books
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