Hollywood
Utopia: Ecology in Contemporary American
Cinema
by Pat Brereton
Intellect, Bristol, 2005
270 pp. Paper, $40.00
ISBN: 1-84150-117-8.
Reviewed by Stefaan Van Ryssen
Hogeschool Gent
Belgium
stefaan.vanryssen@hogent.be
Mr Brereton tries to convince us that
it is possible to read a number
of Hollywood movies from an ecological
perspective. Blockbusters like Terminator,
Jaws, Twister, and Jurassic
Park, to name but a few of the list
he analyses, should be re-interpreted
in a framework of ecological concepts
and with the "notions of visual excess
specifically drawn from feminist studies
of melodrama illustrating a breakdown
in conventional patriarchal
reading of film [
]" (p. 13).
He illustrates his method with an analysis
of Titanic, which in his view ".
. . suggests humans have to be educated
to consume less and to produce more self-sufficiently
to satisfy their basic needs" because
"[b]y representing and establishing
holistic if enigmatic ecological tropes,
Titanic begins to extend a nascent thematic
and aesthetic lexicon which often unconsciously
expresses, even legitimates, core ecological
precepts, especially ecologism which promotes
the principle of sustainability"
(pp. 15-16). He continues with four groups
of films: nature films, Western and road
movies, thrillers and earlier science
fiction, and postmodern science fiction
and high-tech special effect bonanzas.
As far as he is trying to point out that
film criticism has too often overlooked
the importance of nature and ecology in
Hollywood movies, it is easy to follow
his argument. Some of the examples he
analyses probably do reflect a rising
ecological awareness and even a more or
less explicit message about the need of
finding a new equilibrium between Man
and Nature. After all, it is difficult
to overlook the raised finger in Waterworld
or Endangered Species. However,
I find it difficult to swallow the more
general argument about ecological utopianism
(and dystopianism, for that matter) in
a wide range of less explicit films where
nature is prominently present. I remain
sceptical for several reasons. First,
because Breretons way of drawing
background elements up and over the narrative
to the foreground is confusing. The notion
of visual excess is analytically
too blunt and opens the door for foregrounding
anything at the whim of the analyst. After
all, by letting Zerlina sing a whole aria
about the naturalness of the
cure she proposes to Mazetto in Don Giovanni,
Mozart didnt express his mistrust
of pharmacists but rather his obsession
with to put it politely
intercourse, or the general sense of humour
of the public, or the deviousness of women
or, anything one might want to hear being
expressed. Secondly, I find it very difficult
to find any consistency in the way the
author distinguishes between shallow ecology,
deep ecology, simple romantic ideas about
nature (which, by the way are absolutely
not ecological in any sense) and green
activism. The introductory chapter didnt
make me any wiser as to what he precisely
means by any of these terms, nor did the
quotations in the text itself.
Overall, I get the impression that by
stressing his point too much and stretching
his arguments too far, Mr Brereton misses
an opportunity to draw my attention to
those Hollywood movies where ecological
utopias or dystopias are really an issue.
A comparative analysis of more or less
similar blockbusters where one does and
the other doesnt contain an ecological
subtext might help me to see and feel
the sharpness and selectivity of his analytical
method. For all his erudition, he fails
to be convincing, and thats a waste.