FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W33376083> ?p ?o ?g. }

• W33376083 startingPage "14" @default.
• W33376083 abstract "The war against Nature assumed that Nature was hostile to begin with; man could fight and lose, or he could fight and win. If he won he would be rewarded; he could conquer and enslave Nature, and, in practical terms, exploit her resources. But it is increasingly obvious to some writers that man is now more destructive towards Nature than Nature can be towards man; and, furthermore, that the destruction of Nature is equivalent to self-destruction on the part of man. (1) [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] In order to posit some ideas about the future of Canadian cinema, I will focus on a primary motif in much of this nation's expressive arts: the landscape. From the paintings of the Group of Seven to the poetry of E.J. Pratt, the landscape has served as a powerful determinant of a Canadian sensibility. As Bart Testa demonstrates in his book Spirit in the Landscape (1989), there is even a landscape tradition in Canadian cinema, consisting of experimental films by David Rimmer, Rick Hancox, Jim Anderson, Raphael Bendahan, Joyce Wieland, Jack Chambers, Michael Snow, Richard Kerr, Barbara Sternberg, and Bruce Elder. (2) The predominance of the landscape as subject matter in Canadian art is related to a number of other tendencies such as realism, and particular attitudes towards nature and technology. In the ensuing study, I examine these themes in relation to Peter Mettler's documentary Petropolis: Aerial Perspectives on the Alberta Tar Sands (2009). Although the subject of landscape may have receded from more recent discussions on Canadian cinema (3), I argue that it remains an important aspect of contemporary Canadian art and consciousness. Like the Canadian landscape cinema discussed by Testa, Mettler's film eschews characterization and plot in favor of an aesthetic more akin to painting. At the same time, Petropolis displays formal features distinct from the previous generations of landscape cinema, and points to new questions regarding environmental concern. It is these elements that bare insight to some possible futures of Canadian cinema. In Image and identity; Ref1ections on Canadian Film and Culture, R. Bruce Elder notes that Canadian art has tended to take on a realistic and often documentary character. (4) According to him, one of the primary factors in the constitution of this tendency has been the Canadian landscape. The feeling that the harshness of the landscape and climate was unknowable led to the development of a dualistic view of reality, consisting of a rupture between human consciousness and nature. (5) For Elder, a realistic image can reconcile the conflict between the mental and physical, as long as the accuracy of the representation of nature allows for human expression. (6) Although he acknowledges that every medium can achieve a harmony between accuracy and expression, he regards photography to be the best suited for representing the landscape and the anxiety it causes, as the mechanical recording process produces a high degree of accuracy, while formal and stylistic choices can allow for ample expression. Whereas Mettler's forty-three minute documentary is comprised almost entirely of mobile aerial footage of the Athabasca oil reserves and the surrounding area, the fm achieves a symbiosis between accuracy and expression through balancing content and form in its representation of the blighted landscape. The film begins with an inter-title instructing the viewer about the oil operations and its environmental implications. The text states that the ancient plant life compressing underneath the boreal forest in northern Canada is now the second largest oil reserve in the world. Known as the tar sands, this dirty mixture of sand and bitumen (a heavy crude oil) is mined in open pits or extracted through injecting superheated water underground. Not only is the project on its way to industrializing an area of forest the size of England, everyday the oil operations release the same amount of carbon dioxide as all the cars in Canada. …" @default.
• W33376083 created "2016-06-24" @default.
• W33376083 creator A5072583220 @default.
• W33376083 date "2012-01-01" @default.
• W33376083 modified "2023-09-23" @default.
• W33376083 title "From Recoil to Ruination: Petropolis and the Future of the Canadian Landscape" @default.
• W33376083 hasPublicationYear "2012" @default.
• W33376083 type Work @default.
• W33376083 sameAs 33376083 @default.
• W33376083 citedByCount "0" @default.
• W33376083 crossrefType "journal-article" @default.
• W33376083 hasAuthorship W33376083A5072583220 @default.
• W33376083 hasConcept C107038049 @default.
• W33376083 hasConcept C124952713 @default.
• W33376083 hasConcept C142362112 @default.
• W33376083 hasConcept C144024400 @default.
• W33376083 hasConcept C153349607 @default.
• W33376083 hasConcept C161191863 @default.
• W33376083 hasConcept C164913051 @default.
• W33376083 hasConcept C189135316 @default.
• W33376083 hasConcept C2777336010 @default.
• W33376083 hasConcept C2777855551 @default.
• W33376083 hasConcept C2780458788 @default.
• W33376083 hasConcept C41008148 @default.
• W33376083 hasConcept C519580073 @default.
• W33376083 hasConcept C52119013 @default.
• W33376083 hasConcept C543847140 @default.
• W33376083 hasConcept C554144382 @default.
• W33376083 hasConcept C70789860 @default.
• W33376083 hasConcept C95457728 @default.
• W33376083 hasConceptScore W33376083C107038049 @default.
• W33376083 hasConceptScore W33376083C124952713 @default.
• W33376083 hasConceptScore W33376083C142362112 @default.
• W33376083 hasConceptScore W33376083C144024400 @default.
• W33376083 hasConceptScore W33376083C153349607 @default.
• W33376083 hasConceptScore W33376083C161191863 @default.
• W33376083 hasConceptScore W33376083C164913051 @default.
• W33376083 hasConceptScore W33376083C189135316 @default.
• W33376083 hasConceptScore W33376083C2777336010 @default.
• W33376083 hasConceptScore W33376083C2777855551 @default.
• W33376083 hasConceptScore W33376083C2780458788 @default.
• W33376083 hasConceptScore W33376083C41008148 @default.
• W33376083 hasConceptScore W33376083C519580073 @default.
• W33376083 hasConceptScore W33376083C52119013 @default.
• W33376083 hasConceptScore W33376083C543847140 @default.
• W33376083 hasConceptScore W33376083C554144382 @default.
• W33376083 hasConceptScore W33376083C70789860 @default.
• W33376083 hasConceptScore W33376083C95457728 @default.
• W33376083 hasIssue "86" @default.
• W33376083 hasLocation W333760831 @default.
• W33376083 hasOpenAccess W33376083 @default.
• W33376083 hasPrimaryLocation W333760831 @default.
• W33376083 hasRelatedWork W1499377188 @default.
• W33376083 hasRelatedWork W1542119438 @default.
• W33376083 hasRelatedWork W1566124285 @default.
• W33376083 hasRelatedWork W1598642592 @default.
• W33376083 hasRelatedWork W1605238116 @default.
• W33376083 hasRelatedWork W1981987696 @default.
• W33376083 hasRelatedWork W2035740320 @default.
• W33376083 hasRelatedWork W2070555921 @default.
• W33376083 hasRelatedWork W2318088410 @default.
• W33376083 hasRelatedWork W2328762454 @default.
• W33376083 hasRelatedWork W2503843475 @default.
• W33376083 hasRelatedWork W2620773003 @default.
• W33376083 hasRelatedWork W265667422 @default.
• W33376083 hasRelatedWork W271323414 @default.
• W33376083 hasRelatedWork W2777600826 @default.
• W33376083 hasRelatedWork W283960394 @default.
• W33376083 hasRelatedWork W331768644 @default.
• W33376083 hasRelatedWork W620439887 @default.
• W33376083 hasRelatedWork W64021398 @default.
• W33376083 hasRelatedWork W2182950657 @default.
• W33376083 isParatext "false" @default.
• W33376083 isRetracted "false" @default.
• W33376083 magId "33376083" @default.
• W33376083 workType "article" @default.