The face of the environment: environmental human rights on screen
2021; Taylor & Francis; Volume: 17; Issue: 1 Linguagem: Inglês
10.1080/17503280.2021.1940433
ISSN1750-3299
Autores Tópico(s)Posthumanist Ethics and Activism
ResumoThis article examines eco-documentaries that employ the ethics of the face to engage with the notion of a universal human right to a healthy environment. Climate Refugees (Nash, dir 2010 Nash, Michael P., dir. 2010. Climate Refugees. United States: LA Think Tank and Preferred Content. [Google Scholar]) and I Bought a Rainforest (Searle and Woodward, dir 2014 Searle, Gavin, and Aidan Woodward, dir. 2014. I Bought a Rainforest. United Kingdom: BBC. [Google Scholar]) use close-ups of the human face to bear witness to environmental damage. They each emphasise a shared human right to resources and a safe environment, but in the process often enact colonial discourses that I Bought a Rainforest begins to critique. Terra (Arthus-Bertrand and Pitiot, dir 2015 Arthus-Bertrand, Yann, and Michael Pitiot, dir. 2015. Terra. France: Hope Productions and CALT Productions. [Google Scholar]) uses the nonhuman animal face to emphasise an equivalency between human and nonhuman animals in their shared environmental vulnerabilities. Hija de la Laguna (Daughter of the Lake, Cabellos, dir 2015 Cabellos, Ernest dir. 2015. Hija de la Laguna (Daughter of the Lake). Peru: Guarango Cine y Video. [Google Scholar]) initially withholds the face to depict the personhood of the environment itself from an Indigenous perspective. These different approaches to the face highlight anthropocentric tensions in the environmental human rights approach to ecological ethics.
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