In the run up to next week’s Sheffield Doc/Fest I have compiled a listing of environment and sustainability films and documentaries currently in circulation. You can find the link to download the full listing at the bottom of this entry.
This directory displays films from a range of subjects including climate change, environment, sustainability, activism, politics, economy and business. You will be able to view the open access links to various websites and/or trailers. This directory will be updated on a regular basis, perhaps quarterly based on new releases and feedback received. So feel free to suggest any additions!
There are notable works featured on this list such as An Inconvenient Truth (sequel coming soon…) and Before The Flood. For something a little different why not check out the film Unearthed. I was able to attend the international premiere at Sheffield Doc/Fest a few years back and reviewed the films impact on the global fracking industry.
Just a few words about yesterday’s events… We are in grave need of step change to face up to the stark environmental challenges and realities we face globally. This will help us to mitigate climatic pressures and counteract such disappointing news flowing in from the US on Thursday. But it’s not a catastrophe by any means, there are still many states signed up to the Paris accord. To ensure that the Paris agreement is stringently complied with it requires leadership from all parties to strengthen our negotiation powers, in order to create a liveable future for all citizens.
Download and access the directory here.
This edition proposes a forward looking interpretation of how films and social media interaction seemingly configure your responses. This relates predominantly to the concept of hyperreality, and the expression that I have coined as the Hyperreal Social Value (H.S.V). I begin to explore how the proliferation of media such as social media generates these hyperreal value responses. This will be represented through a number of Twitter status’s written on various recent film releases. I will offer a sense of meaning on a more personal note, nonetheless I hope it provides you with an understanding into the world that in many ways is invariably conflicted and distorted.
My first example is the film Limitless which is an action film focusing on a writer who is transformed by a smart drug, enabling him to become a perfect vision of himself. I propose that just visualising working at that level of intensity is scary.
Moneyball is a biographical sports drama which recollects an account of Billy Beane (Oakland Athletics Manager) attempting to assemble a competitive team using innovative analysis methods. Moneyball provides a comprehensive lesson into baseball economics and its outcomes.
The Adjustment Bureau offers a glimpse into how a man can overcome future happenings and his intended destiny. In this sense The Adjustment Bureau eloquently expands the possibilities of free will, broadens your mindset and expands your horizons.
My fourth example is Scott Pilgrim vs. the World. The character Scott is invited to defeat his new girlfriend’s seven evil exes in order to win her heart. Scott Pilgrim vs. the World is an unprecedented example of a gamers’ paradise.
Finally, The Running Man features a wrongly convicted man who now must survive a live public execution on a T.V game show. The Running Man is an overt simulation of the world at it’s most volatile. There is a recognition that the film The Hunger Games is conceivably a modern hybrid version of The Running Man.
In this issue I will be discussing how social media has transformed the types of experiences that tourists now find themselves engaged in. Moreover, I will be suggesting that these transformations have caused an explosion in the number of simulated experiences that are now on offer to tourists. In order to do so I think it is imperative to first reflect on the vast academic material that has been written on simulations, and more specifically hyperrealities. Jean Baudrillard was the first real exponent of the concept of hyperreality with his work “Simulacra and Simulations”. Jean Baudrillard diagnosed that the proliferation of information and technology has had a phenomenal impact on the way that individuals consume products and services. He later added that the consumption of too many fictions has greatly reduced our perception of what is deemed as real. This is reflected in contemporary tourism as many tourists have become immersed in seeking out authentic experiences. However in attempting to seek out authentic experiences they have in turn been met with more and more fictitious experiences. Therefore, many of these tourists are now failing to recognise and comprehend the realism of their encounters.
We are very much living in a highly visualised culture and a simulated induced world. This can be illustrated using the examples of the film and gaming industry. Showing in the cinemas and on T.V are films like Bladerunner, The Matrix and Minority Report which illustrate the complex nature of the hyperreal bubbles that consume us. Notably this has continued in recent times with the release of films such as Inception and Limitless. In terms of the film Limitless just imagining working at that level of intensity is a difficult enough task for many of us. Even the latest television programmes like “Black Mirror” involve the intensification and replication of completely unimaginable events. The gaming industry can be utilised to illustrate the difficulty in establishing a difference between the real and the fake. Bart Simon emphasised that games are represented as a matter of simulation, and specific games like Medal of Honor merely distract us from games of the real. This post-modern society has instinctively created brand new versions of the simulated experience, and has therefore expanded the hyperrealities that currently exist. I believe that advancements in technology like social networking sites have driven a remarkable interest in film induced tourism. Social networking applications like Foursquare tend to display information about where films are set. For example, when you check in with Foursquare at the University of Lincoln you will find that part of the film Possession was filmed in the Faculty of Media, Humanities & Performance building, back when it was the University library. Likewise films such as The Da Vinci Code have boosted Lincoln Cathedral’s income and generated significant increases in visitor numbers. Another example of this is Blairquhan Castle in Ayrshire, Scotland; this was the setting for the 2005 film “The Queen”. Blairquhan Castle was used as a substitute location for Balmoral Castle. This castle has become a popular attraction for American visitors who are interested in learning about the history of the British monarchy. I believe that this experience would not be possible without the expansion of the way information is mediated, via the internet and through social networking sites. These applications have acted as a resource and they have given users more information at their immediate disposal. However, the sharp rise in technology has resulted in this highly visualised culture, where the information that is being presented is distinctly lacking in depth.
In summary, the desire to consume and the expansion in technology has been the driving force behind this post-modern contemporary society. As a consequence, we as a society have created our own hybrid version of the Matrix, and we are naturally immersing ourselves in an elaborate simulation. More importantly, we are seeing a rapid deconstruction and diminishment in the beauty of the authentic. Gradually, this graphically simulated world is slowly descending into a virtual game, which is being played simultaneously on a number of levels and intensities. Individuals are failing to make distinctions between real life experiences and sophisticated replications. Moreover, the responses that we give are being controlled and configured by this simulated environment. Social media has transformed the types of encounters that tourists are now being exposed to. In particularly, we are transcending into a profound virtual hyperreal bubble, which is unsurprisingly lodged in an artificial world.