• wild shots of desert before the grass, sand dunes

• low frame when people are introduced in the scene, bottom angle (empowering maybe)

• no voice over, no ominous music / feeling because of how they are interacting with the nature. It is non exploitative unlike the scene introducing Yellowknofe, Northwest Territories.

• multiple people in scene, community.

• sharing water with each other reiterates community and lack of hostility towards each other and the land

• actual sound and the backtrack

• people are small compared to the surrounding - they are placed in nature rather than on top nature

• never ending desert vs what they have accomplished (makes it seem never ending)

• Lack of outsiders / non members of the community - shows how governments are not usually involved in non expoloitative interaction with land.

In our first introduction to the scholar Lauren Berlant, we open with a shot of Chicago's roadways, creating a direct parallel to Fukushima's bustling cityscape shown only moments before. Walsh plays with the binaries of light and dark, creating a almost ghostly silhouette of Berlant as they provide a faceless, unsettled (yet embodied) narration. This sensation of disconnect is further invoked by a dark colour scheme, mirroring Berlant's narrative of their own struggles with mortality.

When taking into account the narration overlaid on top of these images it becomes clear that they are trying to imitate the discussion of long-lasting, destructive impacts on the natural world that persists long after disaster happens, always in motion. Highlighting man made methods of transportation as well as lights, the narration of man made destruction is seen first hand. Finally, a sense of anonymity is created with the dense population and constant motion of the scene, this ties into the inescapability of these impacts and living within the systems that are continuously destroying the environment.