LEADER 04608nam 2200745 a 450 001 9910788511803321 005 20230816140746.0 010 $a1-283-89726-1 010 $a0-8122-0584-7 024 7 $a10.9783/9780812205848 035 $a(CKB)3240000000068523 035 $a(OCoLC)794702274 035 $a(CaPaEBR)ebrary10642740 035 $a(SSID)ssj0000676492 035 $a(PQKBManifestationID)11415706 035 $a(PQKBTitleCode)TC0000676492 035 $a(PQKBWorkID)10682938 035 $a(PQKB)10907027 035 $a(MiAaPQ)EBC3441988 035 $a(MdBmJHUP)muse17944 035 $a(DE-B1597)449316 035 $a(OCoLC)1013954259 035 $a(OCoLC)1037983179 035 $a(OCoLC)1041982023 035 $a(OCoLC)1045112620 035 $a(OCoLC)1045501054 035 $a(OCoLC)979756466 035 $a(DE-B1597)9780812205848 035 $a(Au-PeEL)EBL3441988 035 $a(CaPaEBR)ebr10642740 035 $a(CaONFJC)MIL420976 035 $a(OCoLC)932312751 035 $a(EXLCZ)993240000000068523 100 $a20000307h20002000 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aWildlife films /$fDerek Bouse? 210 1$aPhiladelphia :$cUniversity of Pennsylvania Press,$d2000. 210 4$a©2000 215 $a1 online resource (xv, 280 pages) $cillustrations 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-8122-1728-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tIntroduction --$t1. The Problem of Images --$t2. A Brief History of a Neglected Tradition --$t3. Science and Storytelling --$t4. The Classic Model --$t5. Family Values, Social Mores, Behavioral Norms --$t6. Nature Designed and Composed --$tAppendix: Chronological Highlights from the History of Wildlife and Natural History Films --$tNotes --$tBibliography --$tIndex --$tAcknowledgments 330 $aIf, as many argue, movies and television have become Western culture's premier storytelling media, so too have they become, for most members of society, the primary source of encounters with the natural world-particularly wild animals. The television fare offered nightly by national and cable networks such as PBS and the Discovery Channel provides millions of viewers with their only experience of the wilderness and its inhabitants. The very films that so many viewers take as accurate portrayals of wildlife, however, have evolved primarily as a form of entertainment, following the established codes and conventions of narrative exposition. The result has been not the representation of nature, but its wholesale reconstruction and reconfiguration according to film and television conventions, audience expectations, and the demands of competition in the media marketplace. Wildlife Films traces the genealogy of the nature film, from its origins as the "animal locomotion" studies that mark the very beginnings of motion pictures themselves, to the founding of the Animal Planet cable channel that boasts "all animals, all the time." The narrative and thematic elements that unite wildlife films as a genre have their roots not in the documentary film tradition, but in the older traditions of oral and written animal fables as reflections of human society. Derek Bousé contends that classic wildlife films often portray animal protagonists living in families modeled on an ideal of the human nuclear family and working in communities that resemble an ideal of bucolic human society. In these stories-presented as documentaries-animals are motivated by human emotions and conduct relationships according to human customs. This imposition of culturally satisfying narrative patterns upon the lives of animals has not only led to the misrepresentation of the natural world; it has promoted the notion that our values, our moral vision, our models of society and family structure derive from nature, rather than being cultural formations. 606 $aWildlife cinematography 610 $aCultural Studies. 610 $aFilm Studies. 610 $aHistory of Science. 610 $aLiterature. 610 $aMedia Studies. 610 $aNatural History. 615 0$aWildlife cinematography. 676 $a778.5/3859 700 $aBouse?$b Derek$01570904 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788511803321 996 $aWildlife films$93844875 997 $aUNINA