Hollywood Utopia

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244 Hollywood Utopia Braudy, L. (1998) ‘The Genre of Nature’ in Browne, N. (ed.) (1998) Reflecting American Film Genres: Theory and History. Berkeley: University of California Press. Brereton, P. (1997) Review of Cultural Ecology: The Changing Dynamics of Communication (1997) (London International Institute of Communications) in Convergence, vol. 3, no. 3, Autumn issue: 148-50. Luton: University of Luton Press. Brereton, P. (2000) ‘The Audience as reader is seldom caught in the Act’. Review of From Ants to Titanic: Reinventing Film Analysis. Barker, M. with Austin, T. London: Pluto. in
Buell, L. (1975) Literary Transcendentalism: Style and Vision in the American Renaissance. London: Cornell University Press. Bukatman, S. (1994) Terminal Identity: the Virtual Subject in Postmodern Science Fiction. Durham: Duke University Press. Bukatman, S. (1995) ‘The Artificial Infinite: On Special Effects and the Sublime’ in Cooke, L and Wollen, P. (eds.) Visual Displays: Culture Beyond Appearances. Seattle: Bay Press. Bunce, M. (1994) The Countryside Ideal: Anglo-American Images of Landscape. London: Routledge. Burnett, R. (1995) Cultures of Vision: Images, Media and the Imaginary. Bloomington: Indiana University Press. Burnett, R. (ed.) (1991) Explorations in Film Theory: Selected Essays from ‘Cine-Tracts’. Bloomington: Indiana University Press. Buscombe, E. and Pearson, R. (eds.) (1998) Back in the Saddle Again: New Essays on the Western. London: BFI. Button, J. (1988) Dictionary of Green Terms. London: Routledge. Button, J. (1991) The Best of Resurgence: A Selection of the First Twenty Five Years. Dublin:Lilliput Press Buzard, J. (1993) The Beaten Track: European Tourism, Literature and the Ways to Culture 1800- 1918. Oxford: Clarendon Press. Byars, (1991) All that Hollywood Allows: Re-reading Gender in 1950s Melodrama. London: Routledge. Callinicos, A. (1989) Against Postmodernism: A Marxist Critique. Cambridge: Polity. Capra, F. (1979) The Tao of Physics. London: Fontana. Capra, F. (1983) The Turning Point: Science, Society and the Rising Culture. London: Flamingo. Capra, F. (1996) The Web of Life. London: Flamingo. Carnes, M.C. (ed.) (1996) Past Imperfect - History According to the Movies. London: Cassell. Bibliography 245
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Pat Brereton Ecology in Contemporar
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The fruit of years of painstaking s
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4 Hollywood Utopia First Published
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ACKNOWLEDGEMENTS I would like to th
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10 Hollywood Utopia Medicine Man, T
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12 Hollywood Utopia Introduction Th
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14 Hollywood Utopia be read using t
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16 Hollywood Utopia unconsciously e
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18 Hollywood Utopia films and concl
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20 Hollywood Utopia Taylor goes on
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22 Hollywood Utopia Frankfurt Schoo
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24 Hollywood Utopia justly claim to
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26 Hollywood Utopia continuous ideo
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28 Hollywood Utopia technological f
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30 Hollywood Utopia Philosophical t
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32 Hollywood Utopia striving toward
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34 Hollywood Utopia creates a space
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36 Hollywood Utopia Essentially a y
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38 Hollywood Utopia primary audienc
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40 Hollywood Utopia While the criti
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42 Hollywood Utopia The elite eco-s
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44 Hollywood Utopia out in the open
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46 Hollywood Utopia vast gasoline s
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48 Hollywood Utopia systems with th
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2 NATURE FILM AND ECOLOGY Prologue
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genre remained preoccupied with mob
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their dystopian gloom or utopian op
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closely linked with untrammelled na
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For Hollywood myth-makers, the pure
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with subtitles extensively used. Bu
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understand and capture the shark, i
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expressed in such texts. While such
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forces of nature but almost as a de
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or post cold-war America’ (18 Jul
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effects are required to encourage a
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anthropomorphic discussion, which c
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Chaos Theory and Ecology Chaos theo
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esearch observed at the beginning o
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ways as reductive in its elitist di
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Similarly, the two other characters
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sense of ethical (natural) justific
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march towards Enlightened democrati
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17. Other, much inferior, ‘nature
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novel is to serve as a mediating te
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92 Hollywood Utopia Hollywood genre
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94 Hollywood Utopia food chain, lea
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96 Hollywood Utopia corrosive infil
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98 Hollywood Utopia and nostalgic p
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100 Hollywood Utopia expanse of raw
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102 Hollywood Utopia A major reason
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104 Hollywood Utopia Marx confident
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106 Hollywood Utopia the genre also
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108 Hollywood Utopia Postmodernity
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110 Hollywood Utopia violently dest
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112 Hollywood Utopia not allowed to
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114 Hollywood Utopia Third Space an
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116 Hollywood Utopia Grand Canyon:
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118 Hollywood Utopia explains how
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120 Hollywood Utopia for authentici
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122 Hollywood Utopia a more potenti
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124 Hollywood Utopia Coda: The Stra
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126 Hollywood Utopia responsibility
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128 Hollywood Utopia Critics may su
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130 Hollywood Utopia empty landscap
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132 Hollywood Utopia 11. The creati
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134 Hollywood Utopia diegetic narra
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136 Hollywood Utopia metaphor for m
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4 CONSPIRACY THRILLERS AND SCIENCE
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ecological awareness, science ficti
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In the post Hiroshima world, scienc
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However - and ultimately affirming
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crude Darwinian instinct to survive
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Also his resultant physical shrinka
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memories helps to highlight an emer
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towards an ever more exalted state
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the film’s courage in exploring s
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Trek served to legitimise this othe
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(Richards 1997: 149) which incorpor
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ultimate survival is finally all th
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around essentialist definitions of
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1993 version 25 casts the military
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scientific minds of the investigato
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in particular, corrupted and wiped
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Logan’s Run Directed by Michael A
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ural life which expose the ills of
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In fact, the director locates the w
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Both protagonists are infected at t
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the (political/ ideological) ‘cen
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postmodern vision’ (Benhabib in T
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Reagan/Bush 1980s. As in Kubrick’
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186 Hollywood Utopia even utopian,
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188 Hollywood Utopia affirm a contr
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190 Hollywood Utopia notion of a pr
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192 Hollywood Utopia part of the un
Page 196 and 197: 194 Hollywood Utopia metropolis - s
Page 198 and 199: 196 Hollywood Utopia The term ‘cy
Page 200 and 201: 198 Hollywood Utopia even more scat
Page 202 and 203: 200 Hollywood Utopia The final clos
Page 204 and 205: 202 Hollywood Utopia actions and de
Page 206 and 207: 204 Hollywood Utopia He argues that
Page 208 and 209: 206 Hollywood Utopia his still beep
Page 210 and 211: 208 Hollywood Utopia often affirmat
Page 212 and 213: 210 Hollywood Utopia But as many cr
Page 214 and 215: 212 Hollywood Utopia physically and
Page 216 and 217: 214 Hollywood Utopia Eco-Closure So
Page 218 and 219: 216 Hollywood Utopia While such a r
Page 220 and 221: 218 Hollywood Utopia individuality
Page 222 and 223: 220 Hollywood Utopia with a persona
Page 224 and 225: 222 Hollywood Utopia Only when the
Page 226 and 227: 224 Hollywood Utopia Linda Hutcheon
Page 228 and 229: 226 Hollywood Utopia The Winona Ryd
Page 230 and 231: 228 Hollywood Utopia the human spec
Page 232 and 233: 230 Hollywood Utopia Such ‘sacrif
Page 235 and 236: Conclusion Ecology has certainly be
Page 237 and 238: questions a number of modernist/pos
Page 239 and 240: generations of students, as they re
Page 241: 6. Plumwood asserts how: ‘Hegemon
Page 244 and 245: 242 Hollywood Utopia Barillas, W. (
Page 248 and 249: 246 Hollywood Utopia Carroll, D. (1
Page 250 and 251: 248 Hollywood Utopia Cubitt, S. (19
Page 252 and 253: 250 Hollywood Utopia Fiske, J. (198
Page 254 and 255: 252 Hollywood Utopia Halberstam, J.
Page 256 and 257: 254 Hollywood Utopia Hooks, B. (199
Page 258 and 259: 256 Hollywood Utopia Kroker, A. and
Page 260 and 261: Massey, D. (1994) Space, Place and
Page 262 and 263: 260 Hollywood Utopia O’Sullivan,
Page 264 and 265: 262 Hollywood Utopia Roszak, T. (19
Page 266 and 267: 264 Hollywood Utopia Springer, C. (
Page 268 and 269: 266 Hollywood Utopia Webster, D. (1
Page 271 and 272: Glossary Of Terms Some framing noti
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