Show simple item record

dc.contributor.advisorAnderson, Katharine
dc.creatorLouson, Eleanor MacLeod
dc.date.accessioned2019-03-05T14:42:23Z
dc.date.available2019-03-05T14:42:23Z
dc.date.copyright2018-09-20
dc.date.issued2019-03-05
dc.identifier.urihttp://hdl.handle.net/10315/35801
dc.description.abstractThe topic of this dissertation is wildlife film and its representation of animal behaviour. I identify a blue-chip renaissance of wildlife documentary filmmaking in the early twenty-first century featuring conventional natural history subject matter, stunning visuals, unprecedented costs, an extended rhetoric of authenticity, and an emphasis on novel footage of animal behaviour. The blue-chip renaissance is a fertile site for investigating wildlife films as hybrid objects, as these films inhabit a set of major conceptual tensions between nature and culture; entertainment and education; and authenticity and artifice. In a review of extant literature (Chapter 1) I examine how those conceptual boundaries have been permeable and productive for scholars of wildlife film and related topics in multiple disciplines, motivating this dissertations interdisciplinary approach. I argue in Chapter 2 that the blue-chip renaissances visual spectacle is not an entertaining impediment to education, but rather a route to immersion and affective knowing, drawing from the legacy of natural history display. In Chapter 3, I analyze working filmmakers attitudes about staging practices in wildlife documentaries, a controversial topic that influences their professional identity as storytellers and observers of nature. Chapter 4 offers a taxonomy of the representation within the blue-chip renaissance and its authoritative public demonstration of nature, arguing that these films model and simulate a variety of real and theoretical entities and processes. In Chapter 5, I show that the authenticity of the blue-chip renaissances portrayal of nature is predicated on the extensive use of behind-the-scenes making-of documentaries employing observational realism. I conclude by exploring the challenges of locating any definitive cultural impacts of wildlife films, and offer instead directions for further research into wildlife films as experienced science communication.
dc.language.isoen
dc.rightsAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
dc.subjectWildlife conservation
dc.titleNever Before Seen: Spectacle, Staging, and Story in Wildlife Film's Blue-Chip Renaissance
dc.typeElectronic Thesis or Dissertation
dc.degree.disciplineScience & Technology Studies
dc.degree.namePhD - Doctor of Philosophy
dc.degree.levelDoctoral
dc.date.updated2019-03-05T14:42:23Z
dc.subject.keywordsdocumentary film
dc.subject.keywordshistory of biology
dc.subject.keywordsscience communication
dc.subject.keywordsbehind-the-scenes
dc.subject.keywordsblue-chip wildlife film
dc.subject.keywordsspectacle
dc.subject.keywordsstaging
dc.subject.keywordsinformal learning
dc.subject.keywordsnatural history film
dc.subject.keywordsdocumentary filmmaker
dc.subject.keywordswildlife filmmaker
dc.subject.keywordsscience and technology studies


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record


All items in the YorkSpace institutional repository are protected by copyright, with all rights reserved except where explicitly noted.