Feminism and Documentary (review)

Book Reviews | Regular Feature by music and voice-over narration—can perhaps humanize animals too much. This kind of anthropomorphism has contributed to the rise in popularity of individual animals and specific species (such as the dolphin) along with an increased awareness of habitat destruction and degradation. But, as Mitman points out, too much attention to an individual species can sometimes be detrimental, as in the case of prioritizing dolphins over other members of a healthy ecosystem. Mitman's focus is presumably film, but Reel Nature also includes related discussions of television programs, theme parks, zoos, and museum displays. Chapters tend to highlight individuals, though, from filmmakers and television personalities to entrepreneurs who have played significant roles in shaping public attitudes about wildlife. In later chapters he concentrates on figures such as Walt Disney and Marlin Perkins in the development of Disney's True-Life Adventure films and Perkins' weekly shows Zoo Parade and Wild Kingdom. But the book does not proceed chronologically, for the most part, or even thematically. Instead we tend to follow one biography after the next of what appears to be mostly white males. While organizing his material this way might help to keep various players straight, it seems to glorify rather than critique the patriarchal power structures that have determined the vast majority of our cultural images. In a book that supposedly argues for a global conservation ethic and a recognition of the interconnectedness of all things, it seems odd not to make more connections between genres, political landscapes, and social climates, in addition to the efforts of individuals. It also seems strange not to address such issues as documentary versus narrative film in shaping public attitudes; the race, class and gender of audiences for television versus film; and the differences between film and video production elements. Among Mitman's case studies it is not always clear why each example has been selected or excluded ; the Discovery Channel makes the cut briefly, but Animal Planet, PBS's Nature and Nova, and the development of Imax films are not so fortunate. While Mitman allows what could be called an ecocritical agenda to surface intermittently, he often stops short of making an argument or analyzing his own examples. His notes indicate, though, that he is aware of the work that has been done by critics such as Donna Haraway (the role of gender in the interpretation and presentation of "scientific" data) and William Cronon (questioning the meaning of "pristine" or "untamed nature"). In choosing not to cite the work of Leo Marx, Annette Kolodny, and Roderick Nash, Mitman also misses an opportunity to draw parallels to studies of American attitudes toward landscape. On the other hand, he does make an argument , finally, that the trend toward excluding evidence of human presence in the depiction of wildlife is problematic. The paradox, he asserts, is that "nature films separate us from nature while simultaneously making us impassioned supporters of the global environment" (202). Ultimately arguing for a conservation ethic that includes meaningful human interaction with the environment, Mitman asserts that we need to be aware of how our attitudes have been shaped by various media images . In this regard, ReelNature represents a valuable tool in not only understanding our past but also constructing our future. Michael Lundblad University of Virginia lundblad@ses.unr.edu Janet Walker and Diane Waldeman. Feminism and Documentary. University of Minnesota Press, 1999. 365 pages; $49.95 cloth. Changing Images Few intellectual movements have had as much impact on postmodernist social and behavioral studies as feminism. This is especially the case with motion pictures. Right from the start—over thirty years ago—an academic tradition was created that has steadily pushed the boundaries of understanding film theory and experience. Feminism andDocumentary is a survey of this achievement. As part of a series on feminist thought, this collection is an updated representation that explores the "thin crust of historical reality " (as the editors put it) in the context of documentary and history studies. The introduction is well worth the price of admission. In an essay richly footnoted, editors Diane Waldman and Janet Walker, trace the changing images of feminist thought and documentary. The chapter includes a...