Our Changing ClimateTextual Analysis 1

https://www.youtube.com/watch?v=gE7vkCz39eg

ModesYou can apply two documentary modes to this film:

Expository – This involves using verbal commentary in the form of a narrator. The images in the film would them serve to illustrate and support the voice over. However the narrator is very rarely seen and acts as a voice of God figure. Where as in this documentary we are following the narrator on his travels.

Reflexive – In this type of mode the filmmaker is seen in front of the camera and provides narration through the documentary. With this type of documentary it makes the audience aware of the problems that the filmmaker faces whilst making the film. Reflexive documentaries also tend to be very truthful and focus of realism and don’t tend to use special effects. Even though they use animation in this documentary they use it truthfully to support their argument and to inform the audience further.

The anecdote of Narrator’s life and the montage of shots from his past experiences of climate-change protests, creates an instant relationship with viewers. It shows the narrator as a person and not just a voice-of-god figure. By conveying moments from his childhood relationship with

his mother it creates a sense of personal identity for the audience. In terms of Maslow’s Hierarchy of Needs it appeals to the drive for love

and belonging.

In the close-up of the narrator you can see a wall of tools and a bookshelf. The tools could connote the industrial world - one of the main contributors to global warming. The books could connote deforestation another contributor to climate change.

There is a montage of short-takes as the narrator talks about his plans for his trip. The short-takes could connote the brief amount of time left in which to affect climate change. This is derived from and feeds the ideology which states fast action is required in order to make a difference.

There are shots that show the cameraman and the equipment. This insight into how the documentary was made appeals to audience members who are information-seeking according Blumler and Katz’ Uses and Gratifications. These shots of them getting ready also represent the first stage of Todorov’s equilibrium, known as the equilibrium, where everything is okay. They are getting ready for their trip and haven’t yet embarked on anything, so nothing is yet to go wrong.

There is a short animation part towards the start of the documentary. When There is a short animation section near the beginning showing the

transition between different types of global warming. It informs the audience about the effects of climate change on the human race. It

appeals to the individual’s morality (according to the Hierarchy of Needs) possibly prompting them to want to take action to halt the progress of

catastrophe. The use of cartoon instead of real footage could be an attempt to not scare the audience as they are trying to get people to try

and fight it instead of shying away from it because of fear.

A number of establishing shots are used when Greenland is introduced. These include a mixture of extreme long-shots and tracking shots which accentuate the message that large areas of land are being

affected. This coupled with the orchestral music adds a serious mood to the piece.

Diegetic dialogue such as: ‘...and that is a problem that affects everyone, everywhere!’ emphasises that nowhere is safe. This hard-hitting message appeals to the audience to accept the ‘facts’ and opinions being offered. The dialogue the narrator says here could suggest the second stage of the Equilibrium theory, the disequilibrium, where something goes wrong. He is saying that climate change could spiral out of control, unless we do something to fix it. There is a long-shot of the team taking samples on the vast expanse of ice. It connotes that they are alone in their concern for climate change and that they are isolated in their views and opinions. It also shows that although global warming is a big problem that needs to be dealt with, too few people are working on it to make a difference.

As they track into the diagram of the glacier, there is a Foley Sound of strong wind. The narrator warns: ‘it’s one of the fastest-retreating glaciers in the world’. The sound here connotes the rapid retreat of the glacier and how it cannot be stopped. The prominence of the sound emphasises the scale of the problem and grabs the audience’s attention by making the melting of the glacier seem more dramatic.

There is an extreme helicopter long-shot of looming fog converging on the landscape. The proximity of the fog to the camera connotes the

imminence off climate change and its potential for global destruction. It emphasises how little time there is left to affect change before it is too

late.

There is a long-shot and a track to the right as the three men walk off into the distance. This connotes how they’re tackling climate change head-on and actively trying to prevent it. The tracking to the right draws the audience’s eye inwards as if the film maker is attempting to make the audience travel along with the men implying their partnership in tackling climate change.

The commentary on the largest glacier-break to be caught on camera overlays a graphic of Manhattan on the resulting iceberg. This enables the audience to understand the scale of the problem, and helps less-sophisticated audiences to engage. It appeals to viewers looking for information and social interaction, according to Uses and Gratifications, giving them something to discuss with others. These shots and the statistics before it suggest the third stage of Todorov’s equilibrium, the recognition. As it is here they are showing what is happening as a result of the disequilibrium and making the audience realise the scale the problem, therefore making them more aware of the situation.

The eye-line match of the glacier and the talking men connotes the filmmaker’s attempt to include the audience into the conversation and imply that climate change isn’t just a problem for scientists, it involves

everyone.

The time-lapse of the sun setting could connote the idea that time is running out and that control over events is being lost. The fade-to-black connotes how quickly things could take a turn for the worse if we don’t

act.

The montage of the expedition and the non-diegetic acoustic-guitar score connote the peacefulness and tranquility to be found in nature. The music sets a reflective tone prompting the audience to appreciate

Greenland’s natural beauty in the hope that they will want to help prevent climate change and save the environment.

There is an extreme high-angled long-shot of scientists travelling on their expedition. There’s a non-diegetic score and more extreme long-shots showing the team traveling to a camp

site. The mix of music and shots connote a free and wild world and establish a value for

outstanding natural beauty. Like the montage it connotes a sense of peace and implies the

possibility of great loss if global warming is left unchecked.

There is a medium shot of three men by a campfire talking about what can be done. One says: ‘I’m really confident that (the younger) generation has the capacity to act’. This appeals to the younger audience and informs them of their responsibility to act. It signifies the filmmaker’s intention to inspire people to go out and do something about global warming.

‘People are gathering in cities around the world they are rising up in hope and solidarity and determination to change everything.’ This diegetic dialogue along with images of protest marches across the world connotes the unity and sense of togetherness that climate change supposedly brings. It urges audiences to join the protesters and become part of the movement. This may well satisfy the audience’s desire for social interaction, according to Uses and Gratification as it prompts audiences to talk about climate change with the people around them.These shots show the fourth stage of the equilibrium, known as an attempt to repair the damage. In these shots you can see people actively going out on marches and trying to do something about the issue. It shows how people are wanting to repair the damage that has been made and are wanting to make a difference to try and save their world. The final stage of the equilibrium, the new equilibrium, can’t yet be applied as we are yet to fix the problem completely. However the filmmakers are trying to inform and inspire the audience to create this new equilibrium.