a cinema of planetary regard: a manifesto
Science has placed a narrative ‘spear in the ground’ that lays claim to how the future of the planet is conceived.
The role of the documentary director is one of troubling the story world of science, as much as it is of building story worlds.
That there is dissent within filmmaking ranks on how a story is placed on a screen is to be valued; narrative forms, which are subject to fashion, are worth dissenting about. Otherwise, documentary filmmakers may continue to produce films that resemble magazine articles that point to pretty pictures of a polar bear on an ice-flow and in doing so reinforce populist exclusionary storytelling.
Films about the Anthropocene have evolved from established orthodoxies that support existing power and knowledge relationships. This situation has resulted in a hierarchy of documentary film forms.
Suspicion must fall upon documentary filmmaking forms that cater to the niceties of public discourse in the neo liberal knowledge forums of the global North.
Through manipulating these forms, the documentary director should aim to disrupt the ‘easy equation that presumes an artwork and its “reading” by viewers is a simple matter of encoding and decoding visual forms’ (Sullivan, 2006: 6). It is a conceptually daunting proposition. Though the little old lady from Nottingham understandably seeks certainty in the face of a future made uncertain not only by the existential threat of climate change but the precarity of life under neoliberal capitalism, it cannot be vouchsafed that she will not miss the point. Confusion necessarily precedes understanding.
The need to parse not only the Anthropocene’s planet encompassing narrative but the form this narrative has taken on has become embodied in planetary ways of knowing and showing.
Just as it is necessary to engage with planetary scale stories, contesting the storytelling forms of the storytellers is also and necessarily a reflexive act.
Documentary filmmakers must now to consider how visually augmented the apprehension of ‘actuality’ has become under the narrative rubric of the Anthropocene.
Making a documentary film based on an outsider readings of the ‘space’ story, framed by the ‘Anthropocene’ as alterity allows for visual narrative orthodoxies to be called out and seen more clearly for their sophistries and what they disguise.
The aim is to hold to account exclusory narrative forms arising from capitalist and colonial ontologies, and the artifice of their ‘world building’, spacefaring Anthropocene.
In this spirit, the narratives of the Anthropocene and outer space will here be regarded as more than just the sum of a set of ideas that need to be explained to the public; documentary filmmaking on the planetary scale can be much more than a messenger for the planetary sciences.
That mise-en-scéne of the documentary making on the planetary is a fragmented and contested discourse, taking on many forms, is a given. The planetary story form is not preordained
Space and climate change are well-known stories, but the privilege given the story form itself is a problem. Narrative itself is worth dissenting about (not simply ‘changing the story’). The planetary story should resist typecasting and embrace a heterogeneity of scales and forms to reflect a multiple vantage points and scales.
As documentary films about the planetary speak to the future, they may also – though perhaps even the filmmakers themselves do not know how – contribute to configuring capacities to invoke planetary scale futures. The future is not proscribed by the narratives of the Anthropocene and space. A cinema of planetary regard takes claims made on planetary futurity to task.
An understanding of the narrative traits of the Anthropocene is brought to the making of the planetary film. The praxis calls on society’s relationship with outer space and the tropes of the Anthropocene that have bled into documentary vernaculars.
Partiality, which leaves room for understanding, may be allowed to happen where once there was a totalising narrative exercising authorial control of the telling of the Earth’s ecology.
There needs to be other ways to create films on big planetary stories, such as space and the Anthropocene, from non-fiction elements that still tell of the world without being conceived through the distorting mirror of this storytelling paradigm.
Just as it is necessary to engage with planetary scale stories, contesting the storytelling forms of the storytellers is also a necessary reflexive act. A cinema of planetary regard seeks to contribute to a realignment of documentary filmmaking discourse.
References / a cinema of planetary regard
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