Saturday, November 19, 2016

Tree Horror and Irresponsible Science: The Earth Bites Back in Severed: Forest of the Dead


Severed: Forest of the Dead addresses the dangers of genetic experimentation, but it also highlights the need for communal action and a biotic community to overcome its repercussions. Overhead shots of a massive dense forest establish the setting and introduce the film’s first conflict between environmental activists and loggers. Shots of protesting activists are juxtaposed with footage of loggers cutting down and preparing timber, illustrating the whole lumbering process from forest to truck to processing. Activists chain themselves to trees while loggers work. A banner shows us that these young environmentalists represent the Forest Action Committee. Their signs declare, “Greed will not clean our air” and argue against depleting natural resources. They shout at the loggers, “get out of our forest!” Trailer

 

Mac, the logger boss (Julian Christopher) at first confronts the environmentalists, warning his men to be careful because the protesters are too close. But he also opposes the company bosses for whom he works. When he sees two company research scientists taking samples from an enormous tree, he tells them to come down for “less talk and more chop.” One of these researchers, Carter (J.R. Bourne), notices extra thick sap and announces, “Something isn’t right… I’ve never seen this volume of sap before,” but he tells Mac there’s no cause for alarm instead of revealing its source: the company is testing GX1144, a new GMO product the company believes will accelerate growth and increase yields.

Tree horror is the result of these genetic experiments. When a logger cuts down the altered tree, the remaining trunk is covered with red sap that flows down its bark like blood. It oozes as the logger saws through the trunk. Activists have spiked the tree in protest. The chain saw hits the spike, sending it flying back. It slashes the logger. Mac calls for help, but the logger begins convulsing. His eyes turn red. He begins to growl and grab at the other loggers. He has turned into a viral zombie, a “natural” eco-zombie, according to S. J. Lauro (2011). For Lauro, the eco-zombie in Severed “incarnates anxieties regarding the abuses of the planet by capitalist industry” (pg. 61). The next scene confirms Lauro’s claim. Lumber company corporate officers and board members discuss the success of GX1144. It has increased profits by 15%. Their goal is to expand the testing area for the genetically altered lumber until a secretary shares bad news about the logging camp. They have lost contact with the camp and blame the Forest Action Committee, led by Rita Hoffman (Sarah Lind). The logging camp is in the testing area, and if Hoffman finds out, it might draw undue attention to their GX1144 program. 

 To address the board’s concerns, its members send the CEO’s son Tyler (Paul Campbell) to the camp. Although representing the enemy, Tyler ultimately becomes part of a biotic community that also includes loggers and environmentalists. His entrance in the camp also shows us what happens when we disturb the natural order: monsters. When Tyler drives his truck off the ferry, the logging camp is deserted and in shambles. Undead loggers feed on corpses, but Tyler escapes into a forest and hides in a shed with unscathed logger Luke (Michael Teigen), environmental activist Rita, logging boss Mac and company man Carter. Rita tells Tyler he has been “raping the earth” and the GMO-induced infection supports her claim. This secret GX1144 testing area must be quarantined to maintain stock prices, and their survival depends on collectively battling monstrous results of bad science. 

The rest of the narrative focuses on the clashes with zombies that the loggers and environmental activists must face together. Rita, Tyler, and Mac form an unlikely alliance that shows the power of community. Carter is the weak link in their group, and ultimately nearly kills them all because he refuses to cooperate. He and the logging corporation usurp the power of the new community. The group’s first attempt to escape is thwarted by the company men who block the bridge to town and through Carter’s unwillingness to share blame. Carter reveals the problems with GX1144 only after Mac threatens him, arguing that he is the only one “who can end clear-cut logging.” Carter and the company men also halt the group’s second attempts to escape through a second logging camp. Company thugs shoot at the group from helicopters. Other loggers capture and hood them, taking them back to their camp. Led by Anderson (Patrick Gallagher), these loggers have created a more hostile community than Mac’s. They threaten Rita and target zombies daily, ritually killing them in a carefully constructed gladiator arena. Carter sneaks away from the compound and deliberately leaves the gates to the prison open, so the remaining zombies attack, killing Mac, Carter, and Tyler. Rita escapes, reaching a road. The last shot shows Tyler’s heartless father in his enormous mansion toasting his dead son. 

Ultimately the message of this campy film makes legitimate claims. First of all, messing with nature through genetic experimentation can be dangerous. Although the science behind these genetically modified trees is highly exaggerated, it is based in fact. Botanists agree these genetically modified “transgenic” trees have the potential to both benefit and devastate the environment. In a University of British Columbia Terry Project report (2015) http://www.terry.ubc.ca/files/PBL/GMPBL3.pdf, proponents argue, “Tree genomics has the potential to considerably improve the planting stock by reproducing desirable traits such as resistance to insects, extreme climates and herbicide or increasing the wood quantity and quality,” especially in the Anthropocene Age This same report also notes concerns, asserting that transgenic trees may propagate gene flow and Superweeds:
“Gene flow could create considerable species displacement and ecosystem disruption”


The report supports these concerns with examples from experimental plantings in China (Terry Project, 2015). In a briefing paper issued by the Global Justice Ecology Project (2015), Dr. D. Suzuki agrees, declaring transgenic trees have
“the potential to transfer pollen for hundreds of miles carrying genes for traits including insect resistance, herbicide resistance, sterility and reduced lignin [supportive structural plant materials].”
These transgenic trees “have the potential to wreak ecological havoc throughout the world’s national forests.” Transgenic trees may not produce zombies, but they may “increase human exposure to hazardous chemicals” (Global Justice, 2015). Severed may illustrate an extreme consequence of planting transgenic trees, but its horror themes are based in science.



If a GMO tree crisis occurs, however, the solution is communal rather than individual. Carter and the company are clearly painted as enemies in the film, as greedy exploiters of both human and nonhuman nature. Rita is also culpable in the infestation, since she and her environmental group spiked the tree that infected the logger. Because she alone survives, however, the film suggests her crimes are minor compared to those of Carter and the company men who would let even their own children die. Ultimately, environmentalists must team up with at least some loggers to overcome the corrupt company battling them both.

Thursday, November 10, 2016

Open Range (2003) and the Myth of Free Range Ranching.



Filmic representations of ranching and an open range still sometimes rest on bifurcations between ranching and farming methods, chiefly because they perpetuate a myth rather than an accurate representation of the American West. Open Range (2003) is a case in point. Years after research negated the ecology behind free range ranching, Open Range argues vehemently (and violently) for free range ranching and against enclosed farms and ranches and, especially, private property rights and barbed wire. 



Highlighting this flawed stance, the film’s heroes, Charley Waite (Kevin Costner) and Boss Spearman (Robert Duvall), battle a town whose citizens have been forced to support a large ranch owner who restricts any other cattle crossing his “privately owned” land. The rancher has bullied the town’s support for private ownership and fencing so strongly that the first business in view when Charley and Spearman arrive in town is a store that sells barbed wire and advertises the service on its front façade. The conflict seems clear and its result relentlessly unjust: Charley and Spearman suffer the loss of many of their trail crew. But they fight back and win, so their worldview in favor of the open range is valorized. 



The town’s chief property owner, Denton Baxter (Michael Gambon), and his men “don’t take to free grazers or free grazing.” But Boss Spearman counters with wisdom that seems to line up with the American ideal of freedom: “Are we moving on?” he asks. “We always do once we graze off a place.” And when Baxter’s men attempt to scatter his herd, he decides to fight back—“one man telling another where he can go; that’s another thing,” he proclaims. After Mose and his dog are killed, and Button (Diego Luna), another hand, is injured, Spearman and Charley seek revenge and seem to be fighting for a way of life as well, a way of life valorized by the film.



Spearman and Charley are associated with only positive qualities: friendship (between themselves and their crew), loving relationships with pets (their own dog and one they save from drowning in a storm), pragmatic gentility embodied by Sue Barlow (Annette Benning), and both courage and ingenuity in their battle with Baxter, the sheriff and his men (against incredible odds). Corporate ranchers like Baxter, however, are constructed as corrupt villains who kill for property rather than ideals.



Ultimately, Open Range comes out in favor of free-range grazing and all of the ideal qualities it represents in the film. Fenced ranching, in contrast, is associated with corrupt land-grabbing corporate ranchers like Baxter. The film, however, oversimplifies arguments for and against free range ranching and harks back to research from the 1920s-1950s that both valorized and contradicted the free-range ranch method. More importantly, it reinforces a mythology resting on American ideals of the Western frontier. The film’s argument in favor of free-range ranching rests on this mythology rather than on contemporary land-use research.



Thursday, November 3, 2016

2016 Embarras Valley Film Festival HS Contest Screenings: Coleman Auditorium EIU at 3:30





EVFF Project
Date



The Dinner Party
by Madison Wilson
in Free
2529
2:57


Oct 26, 2016



Nonno
by Joe DeAngelis
in Free
2055
2:42


Oct 13, 2016



BURRITO BOYZ
by Danny Tran
in Free
1781
6:07


Oct 5, 2016



Man Bun
by Lucas Rooney
in Free
1440
5:02


Sep 21, 2016



Sackett Service Learning
by Jyquan Stewart
in Free
1139
3:02


Sep 8, 2016



Mask
by Katie Speare
in Free
1122
1:12


Sep 8, 2016



"Reflections" (High School Competition)
by Kevin Gordon
in Free
1084
9:58


Sep 6, 2016



Hardboiled Egg
by Shira Moolten
in Free
1063
2:18


Sep 6, 2016



Gary Ferguson Dies
by Gabe Reiss
in Free
1036
12:11


Sep 4, 2016
Total Runtime:
00:45:29





Wednesday, November 2, 2016

2016 Embarras Valley Film Festival: Chi-Raq on Wednesday, November 2 at 6:30!

Wednesday, November 2, 2016

2016 Embarras Valley Film Festival 



Wednesday, November 2

6:30pm          Chi Raq (2015, 2 hrs. 7 min.) film screening with Introduction by Kevin Anderson 


As a modern day adaptation of the ancient Greek play Lysistrata by Aristophanes, Chi-Raq is set against the backdrop of gang violence in Chicago. The murder of a child by a stray bullet prompts a group of women led by Lysistrata to organize against the on-going violence in Chicago's Southside, creating a movement that challenges the nature of race, sex and violence in America and around the world. 



The Embarras Valley Film Festival celebrates its 12th year with a focus on civil rights in Illinois. Our theme, "For All the World to See II: Film Culture and the Struggle for Civil Rights," expands on the Visual Culture and the Struggle for Civil Rights exhibit and program in Eastern's Booth Library: http://www.library.eiu.edu/exhibits/civilrights/. Held annually in Charleston, Ill. since 2004, this year’s festival will be held Nov. 2-4 on the campus of Eastern Illinois University.

Dr. Anderson (Ph.D. Missouri) teaches courses in American government, political theory and African American politics. Professor Anderson focuses his research on American and African American Political Thought, seeking to understand the tensions between individual liberty, collective good and American political values. His first book Agitations: Ideologies and Strategies in African American Politics (University of Arkansas Press 2010), explores this theme within African American politics. His second book is a co-authored work, State Voting Laws in America: Historical Statutes and Their Modern Implications (Palgrave Pivot 2015) with Professors Michael A. Smith of Emporia State University and Chapman Rackaway of Fort Hays State University. This book explores the history and evolving politics surrounding the right to vote in American politics. Professor Anderson has also published book chapters on media and politics and written a book chapter on working in the 1992 Presidential campaign. His current long-term research project explores the consequences of integration and incorporation in African American politics.