joseph heumann | Eastern Illinois University (original) (raw)
Papers by joseph heumann
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Choice Reviews Online, Jun 1, 2009
Routledge eBooks, Nov 15, 2017
1. Introduction 2. Bambi and Mr. Bug Goes to Town: Nature With or Without Us 3. Animal Liberation... more 1. Introduction 2. Bambi and Mr. Bug Goes to Town: Nature With or Without Us 3. Animal Liberation in the 1940s and 1950s: What Disney Does for the Animal Rights Movement 4. The UPA and the Environment: A Modernist Look at Urban Nature 5. Animation and Live Action: A Demonstration of Interdependence? 6. Rankin/Bass Studios, Nature, and the Supernatural: Where Technology Serves and Destroys 7. Disney in the 1960s and 1970s: Blurring Boundaries Between Human and Nonhuman Nature 8. Dinosaurs Return: Evolution Outplays Disney's Binaries 9. DreamWorks and Human and Nonhuman Ecology: Escape or Interdependence in Over the Hedge and Bee Movie 10. Pixar and the Case of WALL-E: Moving between Environmental Adaptation and Sentimental Nostalgia 11. The Simpsons Movie, Happy Feet, and Avatar: The Continuing Influence of Human, Organismic, Economic, and Chaotic Approaches to Ecology 12. Conclusion Works Cited Filmography
Interdisciplinary Studies in Literature and Environment, 2012
... Acknowledgments We would first like to thank Heather Lundine and the University of Nebraska P... more ... Acknowledgments We would first like to thank Heather Lundine and the University of Nebraska Press staff for supporting this project. ... Our experience with the Uni-versity of Nebraska Press has been a pleasant one because of editor Heather Lundine's dedication to this project. ...
Interdisciplinary Studies in Literature and Environment, 2015
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Quarterly Review of Film and Video, 2014
A few months after officials at the Nuremberg Zoo allowed a polar bear to eat her cubs, Lucy Sieg... more A few months after officials at the Nuremberg Zoo allowed a polar bear to eat her cubs, Lucy Siegle explores the ethics of zoos in the May 3, 2008 issue of Observer Magazine. Although experts have shown that polar bears are unsuitable for captivity, the Nuremberg Zoo included them in their attractions because, according to Siegle, they are a popular “charismatic species. . ., which pull in the crowds,” a result that provides increased ticket sales, “the primary source of funding” for zoos. Yet Siegle also asserts that the best zoos would deny including unsuitable species because they please audiences, “shifting emphasis away from animals as entertaining curios (a Victorian idea) and on to the ‘modern’ zoo’s noble aspirations: species conservation and education.” This shifting focus of zoos, however, does not negate the need for a large number of zoo visitors to finance zoo upkeep and programming. In fact, because educational programs and animal welfare strategies require increased funds, the shift may increase the necessity for increased gate fee results. This dilemma raises a perhaps unresolvable question: Can these two competing and conflicting motivations for zoos (profit and conservation) be reconciled in favor of the ethical treatment of zoo animals? In her piece, Siegle outlines multiple benefits of modern zoos: a more natural “captive experience,” smaller environmental footprints, and species conservation that, according to David Whitley’s exploration of Disney animation, might “encourage [] the next generation of children to protect the natural world” (quoted in Siegle). In spite of the positive bent of her exploration, however, Siegle does not argue that zoos can resolve their conflicting interests with animal welfare goals in place. Instead, she leaves readers with more questions to ponder and an answer that demonstrates her own ambivalence toward zoos: “Does the choice come down to gawking at a live polar bear in a German town, or a fictional mouse in large yellow shoes? I’m sticking with my Planet Earth box set.” This same ambivalence pervades multiple films with zoos at their center. Some may focus on the customer for the animals being captured, as in Howard Hawks’ Hatari (1962). Others may examine zoos as a backdrop for comic or dramatic action, as in Cameron Crowe’s We Bought a Zoo (2011) and Frank Coraci’s Zookeeper (2011). Still others
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Routledge eBooks, Mar 28, 2022
Choice Reviews Online, Jun 1, 2009
Routledge eBooks, Nov 15, 2017
1. Introduction 2. Bambi and Mr. Bug Goes to Town: Nature With or Without Us 3. Animal Liberation... more 1. Introduction 2. Bambi and Mr. Bug Goes to Town: Nature With or Without Us 3. Animal Liberation in the 1940s and 1950s: What Disney Does for the Animal Rights Movement 4. The UPA and the Environment: A Modernist Look at Urban Nature 5. Animation and Live Action: A Demonstration of Interdependence? 6. Rankin/Bass Studios, Nature, and the Supernatural: Where Technology Serves and Destroys 7. Disney in the 1960s and 1970s: Blurring Boundaries Between Human and Nonhuman Nature 8. Dinosaurs Return: Evolution Outplays Disney's Binaries 9. DreamWorks and Human and Nonhuman Ecology: Escape or Interdependence in Over the Hedge and Bee Movie 10. Pixar and the Case of WALL-E: Moving between Environmental Adaptation and Sentimental Nostalgia 11. The Simpsons Movie, Happy Feet, and Avatar: The Continuing Influence of Human, Organismic, Economic, and Chaotic Approaches to Ecology 12. Conclusion Works Cited Filmography
Interdisciplinary Studies in Literature and Environment, 2012
... Acknowledgments We would first like to thank Heather Lundine and the University of Nebraska P... more ... Acknowledgments We would first like to thank Heather Lundine and the University of Nebraska Press staff for supporting this project. ... Our experience with the Uni-versity of Nebraska Press has been a pleasant one because of editor Heather Lundine's dedication to this project. ...
Interdisciplinary Studies in Literature and Environment, 2015
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Film, Environment, Comedy, 2022
Quarterly Review of Film and Video, 2014
A few months after officials at the Nuremberg Zoo allowed a polar bear to eat her cubs, Lucy Sieg... more A few months after officials at the Nuremberg Zoo allowed a polar bear to eat her cubs, Lucy Siegle explores the ethics of zoos in the May 3, 2008 issue of Observer Magazine. Although experts have shown that polar bears are unsuitable for captivity, the Nuremberg Zoo included them in their attractions because, according to Siegle, they are a popular “charismatic species. . ., which pull in the crowds,” a result that provides increased ticket sales, “the primary source of funding” for zoos. Yet Siegle also asserts that the best zoos would deny including unsuitable species because they please audiences, “shifting emphasis away from animals as entertaining curios (a Victorian idea) and on to the ‘modern’ zoo’s noble aspirations: species conservation and education.” This shifting focus of zoos, however, does not negate the need for a large number of zoo visitors to finance zoo upkeep and programming. In fact, because educational programs and animal welfare strategies require increased funds, the shift may increase the necessity for increased gate fee results. This dilemma raises a perhaps unresolvable question: Can these two competing and conflicting motivations for zoos (profit and conservation) be reconciled in favor of the ethical treatment of zoo animals? In her piece, Siegle outlines multiple benefits of modern zoos: a more natural “captive experience,” smaller environmental footprints, and species conservation that, according to David Whitley’s exploration of Disney animation, might “encourage [] the next generation of children to protect the natural world” (quoted in Siegle). In spite of the positive bent of her exploration, however, Siegle does not argue that zoos can resolve their conflicting interests with animal welfare goals in place. Instead, she leaves readers with more questions to ponder and an answer that demonstrates her own ambivalence toward zoos: “Does the choice come down to gawking at a live polar bear in a German town, or a fictional mouse in large yellow shoes? I’m sticking with my Planet Earth box set.” This same ambivalence pervades multiple films with zoos at their center. Some may focus on the customer for the animals being captured, as in Howard Hawks’ Hatari (1962). Others may examine zoos as a backdrop for comic or dramatic action, as in Cameron Crowe’s We Bought a Zoo (2011) and Frank Coraci’s Zookeeper (2011). Still others