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Item A critique of the portrayal of grizzly bears in contemporary natural history films(Montana State University - Bozeman, College of Arts & Architecture, 2005) Shier, John Walter; Chairperson, Graduate Committee: Ronald Tobias.Natural History films and television programs are based on the perception that the grizzly bear is an animal that only lives, that only belongs in wilderness. These films and programs spread and strengthen this perception among audiences, compelling them to relegate grizzlies to the few parcels of land that still meet our society's definition of wilderness. The perception ensures that the grizzly's long-term survival in the Greater Yellowstone Ecosystem is threatened; the regions wilderness areas simply don't provide enough habitat for the bears and many people are unwilling to tolerate the presence of grizzlies anywhere except wilderness. Natural history films require a new grizzly archetype if they are to have a positive impact on behalf of the grizzly. This archetype, which perceives the grizzly as an appropriate species for both wilderness and rural landscapes, must be based less on an anthrocentric perception of the grizzly and more on an ecocentric perspective.Item The depiction of indigenous African cultures as other in contemporary, Western natural history film(Montana State University - Bozeman, College of Arts & Architecture, 2006) Shier, Sara Ann; Chairperson, Graduate Committee: Ronald TobiasImages of the indigenous other have always been used in accord with the imperialistic movements of the Western world. Filmmakers continue to use the basic model of depicting people of indigenous cultures as exotic and more primitive than people of Western cultures with the effect of validating Western values and reinforcing the perceived superiority/authority of Western values over other value systems. This form is readily apparent in the treatment of the indigenous people of Africa in natural history films from the inception of the medium to present day. I will examine films from the 1920s through the present day. If filmmakers are to create successful natural history films that incorporate people of indigenous cultures, they must critically study the histories and mythologies that inform these films in order to avoid making the same mistakes.Item The role of conservation films within the environmental debate(Montana State University - Bozeman, College of Arts & Architecture, 2006) Duke, Tyler Norman; Chairperson, Graduate Committee: William NeffIn the environmental debate there is little middle ground. Many environmental issues become highly polarized, with neither side willing to compromise. Conservation films work as a catalyst fueling the fire. They create plot lines based on good and evil without fleshing out the grey area. Two different philosophies exist on the environment. One, ecocentrism, feels that the environment has value by itself . The other, anthropocentrism, believes that the environment's only value is what it provides humans. Conservation films fail to recognize the later belief. The Endangered Species Act has led to a lot of mistrust of biological information. All of these factors have led to the alienation of user groups and a break down of communication between both sides. The role of conservation films should be to begin the environmental discussion.Item Building a partnership between nature and human culture in natural history film(Montana State University - Bozeman, College of Arts & Architecture, 2005) Hillman, Paul Bishop; Chairperson, Graduate Committee: Ronald Tobias.The term "nature" can be defined in a variety of ways supporting very different views on how humans should interact with the natural world. The "ambiguity" inherent in the definition of nature promotes a variety of different applications for the concept of nature, particularly in relation to natural history films. Many natural history films aim to promote awareness and respect for the natural world. The majority of current nature documentaries, however, seem to define nature as an object and employ techniques that actually perpetuate a harmful dichotomy between nature and human culture. The intent of my thesis film, Henry Wood Elliott: Defender of the Fur Seal, is to break down this dichotomy and promote an alternative definition of nature. The definition that I attempt to portray encompasses both nature and human culture in a partnership, a definition of "nature as everything." Through subject matter and specific methods of filmmaking, Henry Wood Elliott: Defender of the Fur Seal attempts to increase the connections between wildlife and humans, and natural resources and human use of those resources, to promote sustainability for both nature and human culture. Past films about the northern fur seal are discussed in terms of the methods and tools employed that encourage and demonstrate the division between nature and culture. A subsequent analysis of Henry Wood Elliott: Defender of the Fur Seal highlights its attempts to build the partnership between the natural world and human context.Item Perspective in wildlife films(Montana State University - Bozeman, College of Arts & Architecture, 2007) Kasic, Kathryn Elizabeth; Chairperson, Graduate Committee: Dennis AigDiscussions of perspective rarely occur in analyses of wildlife films perhaps because of the near neglect of the genre itself as well as the fact that most analysis focuses on content, rather than structure and style. Perspective has long been a part of narrative film criticism, however, and it is essential to a complete examination of a film genre. I define perspective here as the cognitive view of the mind that commands the subject. In documentary and wildlife films, credibility is vital and the film's perspective or point of view establishes this through the use of the camera apparatus and narration. The very use of these tools of perspective may add to a scientific perspective, but inevitably prevent an objectively scientific representation, the pivot of a fact-driven, wildlife film. Although credibility is established by evidence and facts, a tendency toward anthropomorphism can jeopardize claims of objectivity and scientific credibility.Item Beyond the image(Montana State University - Bozeman, College of Arts & Architecture, 2006) Bissell, Owen Edward; Chairperson, Graduate Committee: David ScheererDocumentaries with science and nature as their subject matter have a great, untapped potential for art virtually unexplored in the history of film. A look at the general trend of these films shows a steady progression attempting more subjective and reflexive treatments of material, but science documentaries today are generally stuck in the classical expository mode. This lack of progression in films with scientific subject (including nature and wildlife) subject matter is largely due to producers unwillingness to break from the conventions of genre. In their attempts to create art instead of craft, the next generation of science and wildlife filmmakers will recognize that the promise of art rests in its ability to restructure symbolic representation and therefore change how an audience understands the world. This restructuring of symbolic representation is important and necessary because of hidden and oppressive ideological forces in society ratified by normal symbols. The new generation of science documentary creator will discard the notion of film images as facts and instead pursue a more ambiguous goal of truth. This may involve fabrication; a lie that makes us know the truth. Several individuals serve as examples in this endeavor, such as Brecht, Bunuel, Morris and Herzog. In their works, these artists employ reflexive techniques that elevate viewers consciousness. My own thesis film project, The Last Run (2006), demonstrates some of these techniques more successfully than others. Creators of the new science and nature documentary must break step with decades of established conventions, moving beyond a literal, objective perspective and embracing an imaginative, subjective treatment of their material. These new artistic science and wildlife filmmakers will have three goals: 1) Escape from genre and its binary tendencies; 2) Make art by altering symbolic meanings or representations; and 3) Choose subjects of political (even controversial) or personal importance that are uncommon in todays television programs about science and nature.Item Science and natural history film and the larger media environment(Montana State University - Bozeman, College of Arts & Architecture, 2005) Ruggiero, Colin Ross; Chairperson, Graduate Committee: Ronald Tobias.The purpose of this thesis is to examine the ways in which science and natural history films are affected by the larger media environment and in particular, concentrated ownership structures. This first part of this examination is aimed at establishing that the corporate conglomerates that own the majority of mainstream media outlets and resources have sufficient control over the media environment to warrant speaking about specialized programming like science and natural history within the context of the larger corporate-owned environment. The remainder of the paper discusses the impacts this media environment has on science and natural history film. These impacts consist primarily of excessive commercial influence and a loss of diversity in programming. To explain and describe these effects, the paper uses a model of how the political and economic interests of these media monopolies led to a corporate bias and agenda that serves to filter the films that gain access to mainstream media outlets. This examination relies on a wide variety of data and case studies to support its arguments.Item Narrative in wildlife films : how it shapes our understanding of the natural world and influences conservation choices : how it shapes our understanding of the natural world and influences conservation choices(Montana State University - Bozeman, College of Arts & Architecture, 2005) Singh, Praveen; Chairperson, Graduate Committee: Ronald Tobias.Storytelling is perhaps mankind's oldest tendencies. Their narratives give meaning to our everyday experiences and help us understand our world. Wildlife and natural history films in telling stories about the nature help define, to some extent, our relationship with it. Following the historical development of the classical narrative model in wildlife and nature films, the paper explores its impact on conservation choices and argues for an alternative approach to narrative in these films in order to change the oppositional relationship that we currently share with the nature.