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This e-book bargains a various and groundbreaking account of the intersections among modernities and environments within the circumpolar worldwide North, foregrounding the Arctic as a severe house of modernity, the place the earlier, current, and way forward for the planet’s environmental and political structures are projected and imagined. Investigating the Arctic quarter as a privileged web site of modernity, this e-book articulates the globally major, yet frequently neglected, junctures among environmentalism and sustainability, indigenous epistemologies and clinical rhetoric, and decolonization ideas and governmentality. With overseas services made simply obtainable, readers can detect and comprehend the increase and conflicted prestige of Arctic modernities, from the 19th century polar explorer period to the current day of anthropogenic weather change.
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Extra resources for Arctic Environmental Modernities: From the Age of Polar Exploration to the Era of the Anthropocene
She then considers the application of modes of intimacy deployed by the use of opera in Brenda Longfellow’s Dead Ducks (2012) and charts the use of amateur aesthetics and popular culture in The Yes Men: But It’s Not that Polar Bear Thing (2013). These experimental and activist films and videos present images of climate change and environmentalism that are not apocalyptic or sentimental; moreover, they go beyond the spectacular icons of climate change, such as calving and melting glaciers or anthropomorphized melancholic polar bears.
This negotiation is not only in play in Greenland. For instance, in her chapter “The Negative Space INTRODUCTION: ARCTIC MODERNITIES, ENVIRONMENTAL POLITICS... 15 in the National Imagination: Russia and the Arctic,” Lilya Kaganovsky delineates the ways the Arctic and Siberia are conceptualized in Russian and Soviet feature and documentary films, demonstrating that these cinematic imaginaries are not static, but constantly reconfigured through various paradigms, each set erasing or reconceiving the historical imaginary that came before.
Synnøve Marie Vik’s chapter “Petro-images of the Arctic and Statoil’s Visual Imaginary” explores the visual propaganda accompanying resource extraction in the Arctic by way of the example of the Norwegian oil drilling and extraction company Statoil. Vik examines the new imagery of Arctic petro-cultures and foregrounds how the corporation’s visual rhetoric trivializes the environmental impact of production sites. The most recent phase of Arctic modernization and industrialization alters its landscapes and its representations, whilst pointing to a continuity of Western capitalist imaginations of conquest and mastery of Arctic nature.