000			02112 a2200241 4500
999			_c114522 _d114522
003			BJBSDDR
005			20230411090656.0
007			ta
008			180820b2018 nyu||||| |||| 00| 0 eng d
020			_a9780190696788
040			_bspa _cBJBSDDR
041			_aeng
050	1	4	_aPN 1995.9 _bF282i 2018
100	1		_aFay, Jennifer, _d1969-
245	1		_aInhospitable world : _bfilm in the time of the anthropocene/ _cJennifer Fay
260			_aNew York, NY : _b Oxford University Press, _c2018
300			_a253 p.; _bill.; _c24 cm
500			_a Buster Keaton's climate change -- Nuclear conditioning -- The ecologies of film noir -- Still life -- Antarctica and Siegfried Kracauer's extraterrestrial film theory -- Conclusion: The epoch and the archive.
520			_a "Film, like the anthropocene, is a product of the industrial revolution, but arises out of a desire to preserve life and master time and space. It also calls for the creation (and destruction) of artificial worlds, unnatural weather, and deadly environments for entertainment, and even for scientific study or devising military strategy. In other words, it mimics the forces that are apparently driving us toward this new planetary age and so holds the promise of serving as a philosophical, political, and perhaps even logistical example of how we can adapt to it. Whereas standard environmental thought attends to the environmental crisis as an unraveling of our natural state, this book looks to film (from Buster Keaton, to Jia Zhangke, to films of atomic testing and early polar exploration) to consider what they can reflect to us about the creation and destruction of human environments. What are the implications of ecological inhospitality? What role might cinema and film theory play in challenging our presumed right to occupy and populate the world? Her main point is that we need to be open to the prospect of the anthropocene if for no other reason than the planet (and the Enlightenment human subject) may already be in decline"--
650		4	_96723 _aPelículas cinematográficas
942			_2lcc _cBK
946			_idpf