ABSTRACT Why is nature filmmaking generally absent from histories and theorizations of cinema, and why do films like March of the Penguins receive such grudging attention from serious critics? By exploring ideological dimensions of two formative influences (Jean Painlevé and the Disney True-Life Adventures), along with a recent National Geographic special on the Sonoran desert and the film Microcosmos, MacDonald demonstrates why nature film should be taken seriously.

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© 2006 by The Regents of the University of California. All rights reserved.
2006
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