Ecologized Humanity Versus Humanized Ecology: Critical Approach to Camera Narratives in Cinematic Arts
Keywords:Humanized Ecology, Ecologized Humanity, Grand Narrative, Heteroglossia, Dialogic Imagination, Ecological Insight, Cinematic Arts, The Death of the Author, Enlightenment as Mass Deception
In postmodern cinematic arts, specifically commercially successful ones, the presence of the director on screen through the camera's position could be perceived as a limitation against the notion of heteroglossia, even if the script requires an objective narrative technique. When the script suggests only characters’ Point of View shots (PoV) or multi-vocal narratives, camera position from the director’s or audience’s eye level is a common filming practice. Therefore, a grand narrative or subjective point of view predominates the representation of voices, whether intending to centralize or decentralize camera storytelling. This paper is not arguing about treating all voices—whether human or nonhuman—equally in a particular scene; instead, this paper critically points out filmmakers’ eco-conscious contribution to cinematic arts. Through an inductive qualitative approach, this paper criticizes this humanized ecological portrayal where ironically, ecocide is celebrated in mainstream cinema. So, this study prescribes the incorporation of ecologized humanity by reconsidering camera positions. As social justice pedagogy highlights inclusivity, like literary studies, in filmmaking techniques, ecology should not be a victim or margin the way it was with class, gender, and race. Undeniably, the environment has been filmed mainly as a background or collateral damage. This paper also shares insights into such paradoxes where human protagonists are seen on a ‘heroic’ voyage to save the world performing ecological catastrophic actions.
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