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Climate is represented differently in varying forms of media. Through writing, it is often represented negatively and pessimistically, while climate in film is typically depicted with an optimistic conclusion. This negativity and pessimism in climate writing is especially highlighted by Tommy Pico and Jenny Offill, while films such as Princess Mononoke, The Lorax, and Wall-E represent the positivity often seen in climate films.

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In her book, Weather, Jenny Offill does an excellent job at juxtaposing the noise of every day life with the anxieties of climate change. Weather explores the mundanities of daily life while sprinkling in the apprehension that is often coupled with climate change. The way that Offill represents climate change and the main character, Lizzie's, view of this matter is arguably in a rather pessimistic light. Offill does not make Lizzie a heroine of climate change in any sense, and there is little to no good news shared about the state of global warming. For example, Offill writes, “I let my brother choose the movie for once, but then it’s so stupid I can barely watch it. In the movies he likes there is always some great disaster about to happen and only one unlikely person who can stop it” (Offill 11). This quote demonstrates that the main character, Lizzie, does not believe it to be possible for someone to stop a disaster, such as climate change; in fact, she finds it so impossible that she thinks it's too stupid to watch. This demonstrates how climate change is often represented in books and other written forms, as it is usually accompanied with a negative connotation with no happy ending in sight.

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Throughout Nature Poem, Pico does a superb job at maintaining his pessimism about climate change and the human race. Pico even admits in his writing that he is a pessimist when he states, “It’s hard to be anything but a pessimist when you feel the Earth rotting away on so many home pages…” (Pico 74). Pico is arguing that due to the increased awareness social media provides, it's very difficult to feel positive about the current state of planet Earth. Watching a myriad of people post about climate change and global warming can often feel extremely overwhelming, only perpetuating the anxiety that is already coupled with climate change. This is represented various times throughout Nature Poem, as Pico remains pessimistic about this topic, even when he admits that he feels a connection with Earth towards the end of the book. There is no solution to the global crisis of climate change and global warming at the end of this book, lacking the sense of positivity that's often exhibited in climate films.

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Tommy Pico's writing, specifically in his book titled Nature Poem, provides an example of a pessimistic perspective regarding climate change in text. For example, Pico writes, “People r so concerned abt ‘the Earth’ in the sense of kale salad and bruised gin. She’ll be just fine. We might not make it, hopefully. We’ll exhaust ourselves soon what with global population blooms…” (Pico 47). Here, Pico writes that the Earth will most likely be fine, but the pessimism comes in when he states that "we might not make it, hopefully" and that we'll "exhaust ourselves soon with global population" (Pico 47). Pico does not appear to be overtly concerned about what happens to the human race in terms of climate change, as well as what happens to the Earth. Pico's acknowledgement of a possible demise of the human race, in conjunction with the overall idea of a global disaster in the form of climate change, illustrates a somewhat cynical future. Consequently, Pico's writing serves as a phenomenal example that demonstrates the negativity and pessimism that writing on climate change often articulates.

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Princess Mononoke - Course Text Analysis 4

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Princess Mononoke - Course Text Analysis 4

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The film watched in class, Princess Mononoke, explores human's negative impact on the natural world and how industrialization damages the environment. The protagonist, Prince Ashitaka, embarks on a journey to both lift the curse that was placed on him and to reconcile the relationship between the natural world and the human species. In the film, Ashitaka pleads, "What I want is for the humans and the forest to live in peace!" (Princess Mononoke). Throughout the film, it is clear that Ashitaka wants to fix the issues between Irontown and the forest. The ending of this film displays the potential for collaboration between nature and the human species, which is arguably an optimistic conclusion to the movie. Not only did this film have a positive ending, but it also followed Prince Ashitaka as the main protagonist who wanted to reconcile the two.

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Princess Mononoke - Course Text Analysis 5

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Princess Mononoke - Course Text Analysis 5

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Prince Ashitaka, Princess Mononoke's protagonist, represents the optimistic character who's determined to save both the human race and the natural world despite their tensions. Ashitaka is almost constantly positive throughout the film, and he truly believes that it is possible to reconcile the forest and the humans. In the film, Lady Eboshi asks Ashitaka, "What exactly are you here for?", to which he responds, "To see with eyes unclouded by hate" (Princess Mononoke). This quote is an example of how hopeful and determined Ashitaka is, representing the positive portrayal seen in climate change films. Not only does Ashitaka want to save the forest, but he also wants to save the humans from hatred. At the end of the movie, Lady Eboshi and Irontown agree to live peacefully with the forest and no longer exploit it, while both sides work to rebuild themselves. Saying this, Princess Mononoke is an excellent example of a climate-focused movie that has an optimistic conclusion, accompanied by a protagonist that remains determined and hopeful to reconcile humans and nature throughout the entirety of the film.

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© UNIVERSAL PICTURES, PHOTOFEST Dr. Seuss’ The Lorax (2012). 25 Nov. 2013. Universal Pictures, PHOTOFEST.

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During Week 12: Climate in Film, a classmate posted an analysis of the film The Lorax. They provided an article about this film that essentially explains that The Lorax warned society about climate change fifty years ago, but no one listened well enough to prevent these issues from progressing as they are now (Blair). The Lorax is a film that reminds the audience that they should take action to protect and save the environment before it's too late. It's noted that The Lorax is originally a book by Dr. Seuss, but for this example the modern-day film is what is utilized in this analysis. The author of this article talks about why she thinks this story specifically is so effective, as Dr. Seuss usually writes very colorful and positive narratives, while this one had a more serious subject (Blair). While the subject matter is on the serious side, the movie still has plenty of lightheartedness and a happy ending. One of the main characteristics of The Lorax movie is that it still has optimistic undertones, the audience does not feel as though the issues at hand are irreversible or that the planet is completely doomed. This optimism is achieved through plenty of characters who have pure intentions, such as Audrey and Ted. Saying this, The Lorax relates to Princess Mononoke because they both have characters who represent positive change and the saving of the environment.

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Scrapbook Analysis 2 - Will climate fiction save us?

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Scrapbook Analysis 2 - Will climate fiction save us?

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During Week 11: Climate Fiction, a classmate provided the article titled "Climate Fiction Won't Save Us". This article explores both the potential and the challenges for this genre, as well as the idea that unless climate fiction focuses on realistic day-to-day climate change struggles, the genre will not be successful in actual change (VanderMeer). This relates to the pessimism often associated with climate writing, as the author of this article is arguing that this is the only successful form of climate fiction (VanderMeer). Weather by Jenny Offill serves as an example of what the article was about, because it is a fictional text about climate anxiety during daily life. Weather does not have a main character that's determined to save the Earth and willing to do whatever it takes to accomplish this, unlike most films about climate change. It is plausible that one of the reasons why VanderMeer believes that this form of climate representation is the most beneficial one is because it is arguably more realistic than most films of this genre. However, despite what is realistic or not, Weather acts as an example of the pessimism that is represented in most climate texts, lacking a happy ending or even an answer to this global crisis at the end.

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As Week 12 was titled "Climate in Film", one classmate shared an analysis of the movie Wall-E. Wall-E is a film that explores a future where humans have destroyed the Earth because of their rampant consumerism. In the article that's provided in this analysis, "Walle-E Is More Relevant Than Ever Today", author Ben Sherlock touches on the consumerism in America and how relevant the plot of Wall-E is today (Sherlock). The main protagonist is Wall-E, who is the last robot left that spends his days cleaning up the garbage that has taken over the planet. In this movie, Wall-E serves as the optimistic protagonist who believes in life on Earth and love with Eve, a new robot who was sent back to Earth to complete a scanning mission. While Wall-E follows Eve around the galaxy, he also works to save the environment through one seedling that has sprouted by planting it in a dirt-filled shoe. By the end of the film, the humans return to Earth and trash is being picked up while plants are growing again. Wall-E represents optimism and hope even in a bleak futuristic Earth, supporting the idea that most movies exploring climate have a savior with a happy ending.

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An important idea discussed in lecture is the Crisis of Realism. The Crisis of Realism is the idea that Western culture is "no longer accustomed to thinking of catastrophe or precarity as probable events. But now, the world is changing in ways that have outstripped our ability to contain it" (Menrisky). To summarize, the Crisis of Realism means that the general audience does not consider disasters, such as the ones represented in climate films, as probable; therefore making the argument in the film less serious. This is exemplified in various climate films, such as Princess Mononoke, The Lorax, and Wall-E. All three of these movies have large catastrophes. For example, the attack of the Forest Spirit in Princess Mononoke, the Once-ler's consumerism in The Lorax, and the garbage accumulation shown in Wall-E. The Crisis of Realism represents the idea that because these catastrophes are on such a large scale, the audience does not find them realistic or possible. It is important for the audience to realize that these films are quite probable, because it will force them to consider what they can do personally to help prevent these tragedies from occurring and protect the planet while they still can.

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A theme that was discussed in lecture included the importance of framing. This theme is the idea that how the author writes about a problem matters (Menrisky). Framing is about shifting the word choice and form to emphasize different things (Menrisky). One way of framing a piece on global warming would be to "balance the bad news with actual good news to keep that anxiety at bay and then focus on workable solutions" (Menrisky). This is the idea that if authors include both aspects, good and bad, the audience will feel less overwhelmed by the anxiety that is often coupled with the topic of climate. This is represented through climate films, because there is often hints of optimism and a positive conclusion. While sometimes the "bad" aspects of global warming and climate change are exacerbated in these films, which is where the audience can sometimes get lost because of the Crisis of Realism, the films typically still show the positive possibility of collaboration.

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In class, two different types of Cli-Fi were explored. The two main types of this genre are known as catastrophic and anticipatory (Menrisky). Catastrophic works are usually set in a futuristic, climate-changed world and can sometimes be characterized as apocalyptic or dystopian - these pieces serve as a warning (Menrisky). Anticipatory works are set in a "relatively recognizably, realist present (or a very new future) that highlights 'where we are now' and 'where we seem to be heading'" (Menrisky). These two types of Cli-Fi are very different from each other and can be represented through different films and books. For example, the catastrophic type of Cli-Fi is seen in Princess Mononoke, The Lorax, and Wall-E. The anticipatory type of Cli-Fi is demonstrated by Weather by Jenny Offill and Nature Poem by Tommy Pico.

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In class, two different types of climate text were explored in the form of two different literary modes. One type of these modes is satire, which is defined as "a literary work or mode characterized by the (often deadpan) use of humor, irony, exaggeration, or ridicule to expose and or critique an aspect of aspects of contemporary culture, politics, economics, and or current events or themes" (Menrisky). Satire is represented in Tommy Pico's Nature Poem, as he utilizes an abundance of humor, irony, exaggeration, and critiques to comment on the world around him. For example, Pico writes, "Let’s say I literally hate all men bc literally men are animals – This is a kind of nature I would write a poem about" (Pico 2). Here, Pico is exaggerating because men are not literally animals, but he's comparing them to animals as a way of commenting on how they behave in society. Pico does this many times throughout his book, commenting on both human nature and how humans affect the environment.

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Morye, Kimaya. “I am the Lorax. I speak for the trees!' - Amidst the Quarantine, There is Hope for Climate Action." 22 May 2020. Medium, https://medium.com

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As mentioned previously, two different types of climate text were explored in the form of two different literary modes in class. The second type of these modes is an allegory, which is defined as "a literary work or mode in which the plot, character, and or setting largely functions as symbolic figures to concretely represent and convey a message about complex events" (Menrisky). One example of this is the character the Lorax, from The Lorax. The Lorax as a character serves as a reminder of how important it is to care about the environment and take care of it while still possible. In the film, the Lorax urges the Once-ler to stop hurting the environment, because nature will eventually reach a point of no return. This is also similar to Princess Mononoke, because the fight between Lady Eboshi/Irontown and the Forest Spirit/San represent the tensions between the human species and the effect they have on the environment.

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Cli-Fi Challenges + Possibilities - Context 6

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Cli-Fi Challenges + Possibilities - Context 6

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Additionally in lecture, the challenges and possibilities of Cli-Fi as a genre were discussed. One challenge that was addressed was that Cli-Fi sometimes "abandons clear protagonists and antagonists in favor of character ensembles", which can make it "difficult to identify in the context of climate change" (Menrisky). This challenge is not necessarily shown in the climate films included in this project, as they all have a main protagonist who is trying to save the world. However, this is somewhat seen in Weather by Jenny Offill. In Weather, while there is a main character named Lizzie, there are a wide array of other characters that are included and there is not necessarily one clear antagonist (aside from the idea of global warming). This can make the story feel like it is very noisy, sometimes distracting from the importance of recognizing climate change and its effects. On the other hand, a positive possibility of this genre was defined as it is something that "emphasizes the contingency of both nature and human identity (as well as human survival), which can open up space for new forms of ethics" (Menrisky). This example was illustrated especially in Princess Mononoke, because the relationship between the human residents of Irontown and the inhabitants of the forest were reconciled by the end of the movie, demonstrating that collaboration between the natural world and the human species is possible.

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Blair, Elizabeth. "'The Lorax' Warned Us 50 Years Ago, But We Didn’t Listen." NPR, 12 Aug. 2021, www.npr.org/2021/08/12/1026385429/the-lorax-dr-seuss.

Menrisky, Alexander. ENGL 2635E Lecture, [10/30/23].

Menrisky, Alexander. ENGL 2635E Lecture, [11/1/23].

Menrisky, Alexander. ENGL 2635E Lecture, [11/6/23].

Morye, Kimaya V. “I am the Lorax. I speak for the trees!” - Amidst the Quarantine, There is Hope for Climate Action. 22 May 2020. Medium, https://medium.com/@kimayam/i-am-the-lorax-i-speak-for-the-trees-amidst-the-quarantine-there-is-hope-for-climate-action-c9f0d93bda8a.

Offill, Jenny. Weather. Knopf, 2020.

Pico, Tommy. Nature Poem. Tin House Books, 2017.

Sherlock, Ben. "WALL-E Is More Relevant Than Ever Today." Game Rant, 14 Oct. 2023, https://gamerant.com/wall-e-pixar-more-relevant-today-ai-climate-change/

VanderMeer, Jeff. "Climate Fiction Will Not Save Us." Esquire, 19 Apr. 2023, www.esquire.com/entertainment/books/a43541988/climate-fiction-wont-save-us/.

Dr. Seuss’ The Lorax (2012). 25 Nov. 2013. Universal Pictures, PHOTOFEST.

Princess Mononoke. Hayao Miyazaki. Studio Ghibli, 1997.

Princess Mononoke (1997). 1997. IMDb, Studio Ghibli, https://www.imdb.com/title/tt0119698/mediaviewer/rm3537761792/.

WALL-E (2008). 2008. IMBd, https://www.imdb.com/title/tt0910970/mediaviewer/rm702909696/.