Rethinking Extractivism and Masculinity: Aesthetics of the Environment in There Will Be Blood (2007) and First Cow (2019)

Ariadna Cordal
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Abstract

As today we face the urgency of thinking film history through the implications of the ecological emergency, the aesthetics of oil extraction in cinema can be linked to representations of petro-masculinity and to discourses of capitalist exploitation of nature. Considering the ecocritical trend in film studies, this paper analyzes the subgenre of the oil film, which is inextricably related to the genre of the western historical tradition and its revisions, and presents There Will Be Blood (Paul Thomas Anderson, 2007) as a key case. The comparative analysis discovers that the critical and aesthetic representational strategies of landscape and character of the US founding myth in First Cow (Kelly Reichardt, 2019) manifest a proposal that deconstructs the genre with the intention of filming the relationships between the human and more-than-human from a viewpoint that approaches environmental consciousness. Keywords:  oil, masculinity, western, Paul Thomas Anderson, Kelly Reichard, nature aesthetic, ecological emergency, film history
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反思开采主义和男性气质:将有鲜血》(2007 年)和《第一头牛》(2019 年)中的环境美学
今天,我们面临着通过生态紧急情况的影响来思考电影史的紧迫性,电影中的石油开采美学可以与石油男性形象和资本主义剥削自然的论述联系起来。考虑到电影研究中的生态批评趋势,本文分析了石油电影这一与西方历史传统类型及其修订有着千丝万缕联系的亚类型,并将《血战钢锯岭》(保罗-托马斯-安德森,2007 年)作为一个重要案例。比较分析发现,《第一头牛》(凯莉-雷查特,2019 年)中对美国建国神话的景观和人物的批判性和美学表现策略体现了一种解构类型片的提议,其意图是从接近环境意识的视角拍摄人与超人之间的关系。 关键词:石油、男性气质、西部片、保罗-托马斯-安德森、凯莉-雷查德、自然美学、生态紧急情况、电影史
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