Water
Uxbridge, London, UK
My recent session began with a walk in the Uxbridge area (West London, UK) where I became aware of the sounds of water in the environment. This walk made me realise the significance of water that often goes unnoticed, and its exploitation and contamination has resulted in significant environmental challenges. In discussions after the walk, which was an eye-opener, we explored the idea that water can turn into something that constructs and shapes something social. Water is a powerful element that can have a profound impact on human and non-human life, as well as our relationship with the natural world; it can shape and transform landscapes and communities. For centuries, water has been used as a means of preserving and transmitting information and is often used as a metaphor for memory, time, and history.
During the session, I noticed the role of water in films, particularly as an ecotone, representing the transitional space between different worlds, ecosystems, and emotional states. By exploring the use of water in film, I gained a deeper understanding of how this element is used to convey meaning and themes in cinematic storytelling. Ecotones are critical for biodiversity and serve as areas of transition between different ecosystems, allowing for the exchange of nutrients and species.
Deep Weather (2013) by Ursula Biemann
I gained a deeper understanding of how this element is used to convey meaning and themes in cinematic storytelling by exploring the use of water in films. Ursula Biemann's film Deep Weather (2013) is an excellent example of how water can be used to explore social and ecological issues, focusing on the impact of oil extraction on the Arctic ecosystem and the people who live there. One of the most striking scenes for me in the film was the shot of a massive ice sheet breaking apart and falling into the sea. The sound of the ice cracking and the sight of the water churning as the ice falls into it create a sense of awe and helplessness. The sound also reminded me of the kinds of sounds I heard near the stream of canals when we went on our walk. The film's uses of stunning imagery of melting glaciers and shifting ice floes, as well as the effects of rising sea levels on coastal communities. I felt that this explored the impact of climate change on the Arctic region, specifically on the people and animals that inhabit it. The film also draws attention to the politics of climate change and the ways in which governments and corporations are complicit in environmental destruction. The film uses aerial footage to highlight the vastness and beauty of the region while underscoring the severity of the environmental crisis at hand. I recognised how Biemann's use of poetic voiceover and soundscapes creates an immersive experience that connects the viewer with the natural world, encouraging a sense of responsibility and urgency.
"Water is not only a material and natural force, but also a mediator of political, cultural, and social power relations." (Neimanis's ‘Hydrofeminism: Or, On Becoming a Body of Water’, 2012)
In the realm of alternate films, water can also take on a symbolic role, serving as a metaphor for a variety of concepts and themes. One such idea is that water is always hypersea, demonstrating the interconnectedness of all bodies of water on Earth. It’s inspiring to see that the concept of hypersea suggests that water is a unifying force that connects all living things and serves as a reminder of our interconnectedness with the natural world.
Leviathan (2012) by Lucien Castaing-Taylor and Véréna Paravel
While watching Lucien Castaing-Taylor's and Véréna Paravel's film Leviathan (2014), I noticed that it uses water in a more experimental way to explore the relationship between humans and the ocean. I liked the unique way the film was shot, without a cameraman, emphasizing the mysterious and unpredictable nature of the ocean. The film is shot entirely on a fishing trawler, and the camera captures the chaos and violence of the fishing industry. The film's use of unconventional camera angles and sound design created a disorienting and immersive experience for me, that also highlighted the destructive nature of industrial fishing. This style of filmmaking was quite striking for me as I had never seen anything like this before and it was a great learning too. The film also draws attention to the impact of overfishing on the ocean ecosystem, as well as the physical toll that commercial fishing takes on the human body. One of the most impactful scenes in the film for me was also quite grotesque and unexpected for me is a shot of the fish being gutted and cleaned, with blood and entrails spilling into the water. I also thought the scene highlighted the violence inherent in the act of fishing and the ways in which it disrupts the natural balance of the ocean. From Leviathan's (2014) a unique perspective on water, using experimental techniques to immerse viewers in the world of commercial fishing, I experienced a visceral and immersive depiction of life on a fishing vessel, highlighting the brutality of the industry and the complex relationships between humans, fish, and the ocean. I could strongly see how the film underscores the importance of sustainable fishing practices and the need for humans to recognize our dependence on the ocean's resources. Leviathan (2014) was one of the most unique films I have ever seen as a filmmaker.
I conclude that the theme of water in alternative films offers a rich and diverse lens through which to explore environmental narratives. These films demonstrate the power of water as a storytelling device and highlight the importance of exploring environmental themes through alternate forms of narrative. I see how they challenge traditional structures and techniques and create new ways of connecting with and understanding the natural world, and also more important than ever, in inspiring us to take action and find new solutions.
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Bibliography
Biemann, Ursual (2013). Deep Weather (2013) [online]. Available at: https://vimeo.com/90098625. [Accessed March 8th 2023]
Castaing-Taylor, Lucien and Paravel, Véréna (2014). Leviathan (2014) [online]. Available at: https://www.imdb.com/title/tt2332522/. [Accessed March 8th 2023]
Neimanis, Astrida (2012). Hydrofeminism: Or, On Becoming a Body of Water.Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice, eds. Henriette Gunkel, Chrysanthi Nigianni and Fanny Söderbäck. New York: Palgrave Macmillan, 2012. [online]. Available at: https://www.academia.edu/download/31322007/Undutiful_daughters_NEIMANIS_authors_proof.pdf. [Accessed March 10th 2023]
Neimanis, Astrida (2012). Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivities in Feminist Thought and Practice: Hydrofeminism: Or, On Becoming a Body of Water. in, eds. Henriette Gunkel, Chrysanthi Nigianni and Fanny Söderbäck. New York: Palgrave Macmillan, 2012.
