Stories in Crisis: radical imagination in environmental film and media

这个跨学科的研究建议解决了与叙事和讲故事的关键参与的需要，这对于理解生态危机的表现至关重要（DeLoughrey，2019）。无论我们的故事是关于微塑料，Greta Thunberg还是土著生活方式的丧失，“我们强迫性地围绕一切事物创造[故事]”（马歇尔，2014年，第96页）。然而，尽管我们生活在“历史上最重要的年份”（IPCC，2018），但我们的环境危机的严重性却迟迟没有渗透到公众意识中，这表明沟通过程失败（Penrhyn Jones，2019）。面对大规模损失和存在风险的可能性（Spratt and Dunlop，2017 [2018]），环境故事本身就处于危机之中。后殖民主义和后结构主义要求对“具体政治”保持敏感（Gregory et al，2009）。然而，地点的特殊性，脆弱性，甚至是罪责，可能会被整个世纪的故事所包含，跨越了很长的时间和整个世界（Penrhyn Jones，2019）。这项计划中的研究探讨了进步，包容和生态价值观之间的内在联系;开发了一个分析框架，用于理解激进想象力如何在环境纪录片和替代媒体中传播和/或体现;并将导致传统的文本为基础的奖学金，与三个配套的研究电影探索和阐明相关的辩论。研究问题-当分析环境纪录片发布在21世纪世纪，在何种程度上可以他们的故事和/或讲故事的过程被定义为“激进”？后殖民主义、批判种族和女权主义理论如何使这场辩论复杂化和加强？环境故事的激进想象力是如何被特定的媒体形式、创作惯例和制作过程所激活或限制的？

This interdisciplinary research proposal addresses the need for critical engagement withnarrative and storytelling, essential for understanding representations of ecological crisis(DeLoughrey, 2019). Whether our stories are about microplastics, Greta Thunberg orloss of indigenous ways of life, 'we compulsively create [stories] around everything andanything' (Marshall, 2014, p.96). However, although we're living in 'the most importantyears in history' (IPCC, 2018), the magnitude of our environmental crisis has been slowto penetrate public consciousness, signalling a failure of communication processes(Penrhyn Jones, 2019). Against a possibility of wholescale loss and existential risk(Spratt and Dunlop, 2017 [2018]) environmental stories are themselves in crisis.Postcolonialism and poststructuralism demand sensitivity to 'the politics of specificity'(Gregory et al, 2009). However, the specificity of place, vulnerability and even culpabilitymay be subsumed by the totalising story of the anthropocene, spanning deep time andthe whole world (Penrhyn Jones, 2019).This planned research explores the inherent connection between progressive, inclusiveand ecological values; develops an analytical framework for understanding how radicalimagination is communicated and/or embodied in environmental documentary andalternative media; and will result in traditional text-based scholarship, with threeaccompanying research films exploring and articulating the relevant debates.Research questions-When analysing environmental documentaries released in the 21st century, to what extentcan their stories and/or storytelling process be defined as 'radical'?-How do postcolonial, critical race and feminist theories complicate and enhance thisdebate?-How is the radical imagination of environmental stories enabled or limited by specificmedia forms, their creative conventions, and production processes?