Description
Oceans, seas and shorelines have captivated cinema since its inception, from nineteenth-century chronophotography to contemporary digital blockbusters. This volume explores the cinematic history of maritime environments, examining how film observes the natural world in ways that shape global perceptions of our blue planet. It traces the evolution of filming technologies, from the Lumière brothers’ early documentaries to immersive CGI, while highlighting the material and logistical resistance these vast, unpredictable waters pose to representation. The book investigates a diverse array of genres, including Hollywood blockbusters, ‘green-chip’ activist documentaries, and Indigenous-led features. It demonstrates that while filmmakers often seek authenticity through location shooting or visual effects, these practices frequently lead to unintended environmental consequences, from overtourism to digitritus: the ecological waste generated by digital data centres. The chapters explore how film can marginalize coastal communities, exoticize remote islands, or, conversely, foster an affective ecology that encourages environmental stewardship and responsibility in the Anthropocene. This interdisciplinary collection is designed for scholars and students in film studies, blue humanities, environmental studies, and cultural history. It offers critical insights for those interested in the ethics of representation, the intersection of technology and nature, and the role of media in addressing global oceanic crises. By bridging the gap between scientific knowledge and popular imagination, the book promotes alignment of the use and enjoyment of oceans, seas and shorelines with informed and responsible custodianship of these vital resources.