[Commlist] New open-access book from Open Humanities Press: Geological Filmmaking

Open Humanities Press is pleased to announce the publication of 
/Geological Filmmaking/

by Sasha Litvintseva.

Like all Open Humanities Press books, /Geological Filmmaking/ is 
available open access (= it can be downloaded for free):

http://www.openhumanitiespress.org/books/titles/geological-filmmaking/ 
<http://www.openhumanitiespress.org/books/titles/geological-filmmaking/>

*Book description:*

Every film image is geological. As a technical medium derived from the 
metals and minerals extracted from the earth, every moving image is 
materially embedded in the world it records. It is also temporally 
linked to the almost inconceivably vast deep time of the planet’s 
formation. What would it mean to make films in response to this 
situation? /Geological Filmmaking/ argues that the challenge lies in 
situating oneself in the space between the concrete object of a film and 
the broader planetary conditions of its existence. The nuances of this 
position are at once formal, ethical and political. Sasha Litvintseva 
discusses her process of developing such a film practice as a way of 
tackling the perceptual and aesthetic difficulties presented by ongoing 
ecological crises. These concerns are explored through the prism of the 
author’s own films about asbestos and sinkholes in their respective 
economic and colonial contexts.

//

/Geological Filmmaking/ develops a new genre of writing rooted in a 
reciprocity between the practice of making films and the theoretical 
study of the relations they participate in. Litvintseva expands current 
conversations in the environmental humanities through building on the 
rich legacy of experimental film as a tool for producing alternative 
modes of experiencing the world. The book is intended for readers from a 
broad range of backgrounds, looking for new ways of dealing with 
questions about the life and death of our planet.

**

*Endorsements:*

/Geological Filmmaking/is a tour de force of theory and practice. 
Litvintseva demonstrates with clear and powerful prose that the arts of 
earthly perception and the aesthetics of political ecological 
intervention cannot be built with the tools and languages that have 
caused our climate crisis. Using her own geological filmmaking practice, 
Litvintseva models the material, including chemical and molecular, 
kinships between a technical, representational, and aesthetic practice 
oriented to a post-geontological world.


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