This article charts the contiguity of farming and film, blending permaculture and cinema to advance a modality of sustainable film theory and practice we call “permacinema.” As an alternative approach to looking and labour, permaculture exhibits a suite of cinematic concerns, and offers a model for cinematic creativity that is environmentally accountable and sensitive to multispecies entanglements. Through the peaceable gestures of cultivation and restraint, permacinema proposes an ecologically attentive philosophy of moving images in accordance with permaculture’s three ethics: care (...) of earth, care of people, and fair share. We focus on work by Indigenous artists in which plants are encountered not only as raw material or as aesthetic resource but as ingenious agents and insightful teachers whose pedagogical and creative inputs are welcomed into the filmmaking process. By integrating Indigenous epistemologies and cosmologies we hope to situate permacinema in the wider project of cinema’s decolonization and rewilding. (shrink)

This article explores Simone Weil's concept of ‘affliction’ and the black poetics of Saidiya Hartman and Fred Moten in relation to two nonfiction films: Artur Aristakisyan's Palms and Foroug...

This article situates Jean-Christophe Bailly’s The Animal Side in the continuum of Continental philosophy on animality and animal ontology. Exploring Bailly’s linking of thought and vision and his insistence on the pivotal role of animals in the emergence of European art and image-making, I argue that the political dimension--a central implication of Bailly’s text--calls for further attention and development. This points to a broader concern within contemporary Continental theory on the subject of animals: the need to connect new human and (...) animal ontologies with ethical, political, and normative models for the effective articulation of post-anthropocentric collectivities. (shrink)