Abstract
The media industry holds significant sway in society, culturally and economically, and plays a crucial role in raising awareness about the social and political implications of the worsening environmental instability. Film and Television Production in the Age of Climate Crisis assertively tackles the complexity of assessing the media industry’s footprint and representational impact through three main blocks: policy and governance; transnational green production; and the futures of green media. In their introduction, the editors emphasize how, over the past two decades, there has been a noticeable surge in the depiction of environmental concerns in media, accompanied by a shift in the industry’s emphasis towards sustainable practices and eco-friendly messaging. The book’s publication timing is apt, coinciding with a significant increase in academic interest.
Pietari Kääpä’s chapter on ‘Environmental Media Governance’ analyses how the COVID-19 pandemic challenged the audiovisual sector, prompting businesses to reassess risks and adopt digital innovations for efficiency. It reveals how the screen industries can effectively realign operational modes and governance approaches so as to move from media management to media governance which encourages broader mandates and the involvement of stakeholders beyond screen media to press for green initiatives. This transformative switch demonstrates the capacity of media production cultures to lead positive changes or, conversely, results in an extensively corporatized control model without sufficient transparency and regulation.
Hunter Vaughan’s chapter shows how, over the past decade, policy approaches on green film practices have significantly increased, influenced by the growing awareness of the environmental impact of screen culture with municipalities and other governing bodies now more committed to combatting anthropogenic climate change and protecting local environmental health and resources. Through several case studies that include British Columbia, Mallorca and Sardinia, Vaughan provides dynamic models for collaboration between governmental agencies, cultural institutions and film sector stakeholders, leading to environmentally conscientious production initiatives with local and broader geographic impacts. Unfortunately, as he points out, the environmental aspect is sometimes treated abstractly or as part of a more comprehensive discussion of landscapes without a dedicated focus on environmental studies.
Inge Sørensen and Caitriona Noonan’s chapter investigates the role of European screen agencies as public bodies in mediating the impact of the climate crisis. It presents a typology of current responses, highlighting common approaches while revealing underlying dimensions and gaps in current efforts and concluding that screen agencies, rather than environmental agencies, frame the climate crisis and balance economic growth and creative practices against expectations surrounding environmental sustainability. The authors believe screen industry culture must undergo a transformation, and they are not wrong.
Mette Hjort’s chapter focuses on the necessity for education in sustainable filmmaking and the need to expose filmmakers to relevant values and practices during their training. The discussion highlights how some resource-limited film environments in Palestine, Burkina Faso, and Tanzania have, of necessity, developed innovative and sustainable filmmaking practices, while the West overlooks the unique approaches to filmmaking in Africa and the Middle East. Hjort advocates transnational connections between filmmakers in different contexts and concludes by urging the inclusion of diverse perspectives in finding solutions to the challenges of climate change.
The chapter on the Colombian audio-visual industry by Norma Cuadros González, Javier Machicado and Elsa Johanna Llorente Buitrago analyses how certain countries are facing sustainability challenges while lacking a comprehensive roadmap. The authors argue that the industry's dependency on the public sector has led to an unsustainable economic model in which environmental practices are marginalized due to cost concerns. Thus, they propose a handbook that measures cultural heritage protection, labour rights, funding strategies and methods of reducing environmental impacts and conclude that collaboration and data-driven efforts are urgently needed to address environmental impact and formulate a sustainable agenda for the sector's future competitiveness.
In a case study from Ireland, Pat Brereton, Anthony Muldoon and John Gormley explore the efforts of ScreenGreening, an Irish group dedicated to environmental sustainability in the screen industries. Its aim is to integrate environmental sustainability and promote eco-friendly practices as well as to educate stakeholders on using the carbon calculator effectively. Interviews with industry representatives highlight their commitment to promoting sustainable practices and embedding them in their work but challenges in adopting sustainable practices include funding limitations and limited awareness. Similarly, Judith Keilbach and Fieke Spoler, in a chapter on the Netherlands, use interviews with film professionals which reveal awareness of sustainable options but also obstacles to their implementation; time pressure and tight budgets hinder eco-friendly solutions. Five recurring obstacles are identified: reputation concerns; lack of clear instructions; divided responsibility; the image of green filmmaking; and ethical and financial dilemmas. Bridging communication gaps is essential for promoting eco-friendly actions while changes in funding and policies are required to support training and planning for sustainability. The Netherlands Film Fund plays a crucial role in driving these changes.
Andrew McWhirter’s chapter on the UK discusses the need for a paradigm shift in climate change communication within the film, television and digital media industries. The chapter introduces the concept of ‘digital work’ as a more nuanced approach to address environmental challenges, focusing on creative actions and practices that benefit others and highlighting the progress made in sustainability through initiatives such as the Screen New Deal. Challenges and areas for improvement, such as addressing energy consumption from streaming services and promoting sustainable lighting practices, are also discussed but, overall, the chapter encourages a scholarship of hope and positive action in environmental media studies.
The final chapter on ‘The Carbon Footprint of Streaming Media’ by Laura U. Marks and Radek Przedpełski addresses and, in a sense, summarises the environmental impacts of streaming media previously commented on in the collection. They expose the challenges in calculating carbon footprints and highlight the urgency of regulating ICT's energy consumption. They challenge the belief that increasing technological efficiency can offset the rising electricity demands of streaming and question the focus on energy efficiency, suggesting alternative solutions to curb ICT's energy consumption. The Small File Media Festival is offered as an example of a sustainable alternative which promotes small-file media and advocates for a more mindful approach to media consumption.
This comprehensive edited collection effectively charts the primary challenges, issues and opportunities faced by the film and television production industry while also outlining pathways towards a greener screen. The book provides valuable insights and timely information for scholars focusing on media sustainability and can be considered as essential reading material for incorporation into their teaching endeavours.