Ecocinema

In recent years, with increasing attentions paid to films that explore ecological and environmental issues in contemporary world, particularly after the global success of a number of eco-disaster films and environmentalist documentaries the likes of The Day After Tomorrow (2004) and An Inconvenient Truth (2006), the synergies of ecocriticism and film studies gradually consolidate into the new paradigm of ecocinema studies. Its expansion as an academic field is evidently reflected in the flourishing western scholarship that sets out to define ecocinema/ green film criticism/ ecocritical film criticism, since the turn of the millennium (David Ingram 2000; Scott MacDonald 2001; Pat Brereton 2005; Sean Cubitt 2005; Joe Heumann and Robin Murray 2008; Paula Willoquet-Maricondi, ed. 2010; Rust, Monani, and Cubitt, eds. 2013; Adrian Ivakhiv 2007, 2013; Alexa Weik von Mossner 2014). Despite the scholarship's relatively short history, recent academic publications in ecocinema studies have shown the breadth and depth in both its theoretical approaches and thematic concerns.