Thursday, October 31, 2019

Best Cli-Fi movie intro ever. Soylent Green Intro Sequence

Best 2:15 of movie intro ever.  Intro Sequence

2 minutes,  15 seconds. WATCH!



''It is the best of times and worst of times for women'': so says Margaret Atwood

8-minute video speech

''It is the best of times and worst of times for women'': so says Margaret Atwood

In the course of the speech, Atwood talks about her famous dystopian novel, ''The Handmaid's Tale,'' and laments how she was drawing from the past and was not predicting the future.


It is the best of times and worst of times for women: Margaret Atwood

It is the best of times and worst of times for women: Margaret Atwood

In the course of the speech, Atwood talks about her famous dystopian novel, The Handmaid's Tale, and laments how she was drawing from the past and was not predicting the future.

Margaret Atwood needs no introduction. The Canadian author, who just won the prestigious Booker Prize, has always been an insightful artist and artfully insightful. Through her books, she has presented a bleak but increasingly real picture of the future, and raised her concerns over it.

The author has also spoken for women time and again. In this video, she speaks at the magazine Variety’s ‘Power of Women’ event, and talks about how the world has changed for women. She recollects that when she was growing up, a powerful woman was either termed a freak or was known as something worse. In the early 70s, she says, “you were lucky if you were a token”.

Standing at the event, she opines how we would not need special events for women when they do become an accepted, equal part of society. But, she continues, we are very from that moment. “Right now, it is both the best of times and worst of times for women.”  “Women have made themselves vigorously heard in the last three years. Not only in the United States but in many other countries.” However, the fight is far from over. “Some women are fighting for rights they never had and others are fighting the threatened removal of such rights. Now is not the time to take anything for granted.”

Lindsay Lerman, author of "I'm From Nowhere," is not from nowhere: An Interview

Lindsay Lerman, the author of the novel "I'm From Nowhere, was born in Evanston, Illinois, just outside of Chicago, and attended Northern Arizona University for her undergraduates studies and later received a PhD in Philosophy from the University of Guelph in Canada. This interview was conducted by email in October 2019 and was edited slightly for clarity and amplification. - Dan Bloom at The Cli-Fi Report.

DAN BLOOM: In a recent interview with Genevieve Pfeiffer, she noted that in the novel you write about death in many forms — the physical death of John, how his death creates a symbolic death in
Clare, and that in the story you tell you also write about another kind of death, the death or
impending death of various species.

She then asks you: "We can connect these continual references to extinction to the impending
sixth extinction. How do you relate Claire’s loss to the loss humanity is facing? What inspired
you to these connections?"

And you reply: "It’s safe to say that I’m obsessed with impending extinction. We see more
evidence of it everyday, and it gets more and more real, but it’s so unthinkable that it
actually doesn’t get more real for most of us. We just carry on."

Can you tell me more about what you mean by "impending extinction"? Do you mean the
Sixth Great Extinction that Elizabeth Kolbert wrote about in her popular non-fiction book about it a
few years ago and the catastrophic extinction event that Greta Thunberg was referring to
in her now-famous speech at the UN on Sept. 23?

Do you think we humans will go extinct soon? Or if not soon, what kind of time frame are
you thinking of?

You told Genevieve Pfeiffer: "There is abundant evidence of extinction and attendant global emergenciesin [my novel], but it’s in the background (or "subcutaneous," as a friend put it), just as it is for most of us in our day to day lives."What did your friend..and you.. mean by the
comment and do you agree with your friend's quote?

LINDSAY LERMAN: This is a big question. I want to start by making it clear that I am not a scientist, and although I read the scientific literature as closely as I can, I think it would be irresponsible of me to make specific predictions about timeframe. But in general, yes, I’m referring to
the Sixth Great Extinction. When I say that it’s unthinkable, I mean that we can read about
the fact that roughly 200 species go extinct everyday, and we can understand that as a
fact that has (and will have) a bearing on every part of our lives, but there’s a disconnect.
We see the cost of food rising, the cost of housing rising, we feel that the weather is
different each year -- seems to follow new patterns -- but adding it all up is intellectually and
emotionally taxing, so I think many times we stop short of adding it up. Some people in
some parts of the world don’t have this luxury of not adding it up -- they’re fleeing areas
without water and other natural resources--and the effects of ecological catastrophe are
felt by them in more immediate ways.

DB: The title of your novel is "I'm From Nowhere." What does the title mean? And to you, as the author, and how did it come to you? And what do you hope it will mean to the readers who will pick upyour book and read it for their personal explorations or for a university literature class?

LL: I initially picked it because it just felt right. I didn’t quite know why I was selecting it.
But now I think I can say that the title reflects the protagonist’s struggle with making sense
of herself and her place in the world. We like to have a clear sense of who and what we
are, but sometimes it just doesn’t happen for us. We don’t always know who we are, what
we are, where we belong, where we’re going. Sometimes we don’t even know where
we’ve been.

DB: Is your novel ''cli-fi''? Sci-fi? Literary fiction? Or do you prefer a different way to classify it or label it?

LERMAN: I’m not sure how to classify it. (I think that’s part of what took me so long to find the right publisher.) It’s probably some kind of literary fiction. It’s cli-fi insofar as the climate is itself a
character (though one could say every piece of artwork that features the world is cli-fi, but that’s
another discussion). But Claire, the main character, is not separable from the climate. She is
unable to separate herself from the environment; the climate is not some thing over which she
has clear dominion and can “protect” or whatever. She is subject to the same forces as every
other living thing. She’s tyrannized by all of it, powerless to stop it or change it.

BLOOM: Where did go to college for your undergrad studies, and what was your major and did you do any graduate work after that, too?

LERMAN: For undergrad, I went to Northern Arizona University (NAU). I almost didn’t go to university, but because I was in the top 25 percent of my high school graduating class, I got a letter from NAU saying that if I applied I would be accepted and that I’d likely get some tuition assistance. So I did that. I ended up getting two undergrad degrees simultaneously, one in Philosophy and one in Education. I loved philosophy, but I knew I’d have to work as soon as I left school, so I did the education degree to become a teacher. After teaching for 4 years, I went back to school to get a PhD in philosophy at the University of Guelph in Canada

BLOOM: I'm just curious, since I'm Jewish myself, if given your surname of Lerman: Are you Jewish? Did your Jewish upbringing have anything to do with the way to approached this novel and the theme of possible species extinction, including human extinction?

LERMAN: My father’s family is Ashkenazi Jewish, yes. It depends on what you consider the “tradition,” but I wasn’t really raised in the traditional Jewish way all that much. But I can tell you that one of my favorite parts of Jewish tradition, as I experienced it in my family, however, is continual questioning.

From a really young age, maybe around 6 or 7, I remember my grandfather asking questions about matters that I had previously taken to be settled. He’d ask me why I was wearing what I was wearing, why I had the friends I had, why I read the books I was reading. As a child, I thought of all the questioning as a nuisance, but as I grew (and particularly as I started studying philosophy), I understood it as a gift.

I also remember that it was important to him that I learn how to produce certain sounds
present in (spoken) Hebrew. He would ask me to practice them, so that I didn’t lose the ability to
produce them.

BLOOM: You are a translator from the French language and your first translation is due out in 2020. Congratulations! What is the title of the boook and who wrote it?

LERMAN: Thank you! I translated François Laruelle’s first book, ''Phenomenon and Difference: An Essay on the Ontology of Ravaisson,'' from French to English. It was Laruelle’s doctoral thesis.

He has quite a following in France, and a growing following in the Anglo-American philosophy
world, so I think I felt a certain amount of pressure translating it. The publisher is the publishing
house for The New Center for Research and Practice. I don’t know the exact publication
date at the moment, but I can tell you this: I’m looking forward to seeing it in print.

Sunday, October 27, 2019

ENGLISH TRANSLATION of Brazilian literary essay by Sergio Augusto on the rise of cli-fi in his country and the the world!


Essay by Sergio Augusto
original in Portugese BEHIND A PAID PAYWALL at:,sem-futuro,70003064172

But we found the English translation here via Deep L:


When ''A Morte e o Meteoro'' (Death and the Meteor) was written, Brazilian writer Joca Reiners Terron from Mato Grosso imagined the Amazon destroyed, with dozens of hectares of "agonizing trees in the process of being burned by the sun". When the novel came out and began to be praised, the real Amazon still existed, but instead of being burned by the sun, it seemed doomed to die charred by burning.

 ''A Morte e o Meteoro'' was the most outstanding contribution of Brazilian
literature to this year's cli-fi.

If you have read or said "cli-fi," just as Montgomery Clift's last name is written or almost pronounced, I think it's best to first explain what cli-fi (read "clai-fai") means. Cli, from climate; fi, from fiction. It's a branch of science fiction, like the distopias. Expression coined in 2011 by an American literary journalist named Daniel Bloom, born in 1949, his narratives start from situations and conflicts caused, aggravated or permeated by global warming and its climatic, social, economic and psychological consequences. 

One of the consequences of the destruction of the Amazon in Terron's novel is the exodus of 50 indigenous people from the kaajapukugi tribe, taken by a sertanista to Oaxaca, Mexico, as political refugees. Forget the obvious biblical connotations. Their historical, cultural and political resonances are more relevant. Oaxaca was the land of the Zapotecs and Mixtecs, where Benito Juárez, the founding hero of the Mexican republic, was born. The ongoing world diaspora is a coda of the colonialist Holocaust and also one of the by-products of the climate apocalypse.

Just as there is cli-fi, there is cli-nonfi: non-fictional books on the scourges of Anthropocene, that is, the misfortunes resulting from the influence of the human being on the atmospheric and climatic systems of the Earth. The best of the specialty published here this year was written by journalist David Wallace-Wells, an expert in technology and the environment: The Uninhabitable Earth - A History of the Future (Cia. das Letras). 

Wallace-Wells begins his assessment of the slow global ecocide with a warning ("It's worse, much worse than you think") and extends his well-documented alarmism for three hundred and so many pages, over which he disqualifies several comforting illusions - global warming is an arctic saga, remotely located, and rising sea levels only concern coastal dwellers - that sound as pernicious as the denial of climate change. 

On so many pages, the author asks what is "the meaning of entertaining ourselves with a fictitious apocalypse when we face the possibility of a real". He answers himself: offering distraction, sublimation and catharsis is one of the functions of pop culture and literature, "a form of emotional prophylaxis" capable of persuading us that we can survive climate armagedon and, in many cases, teach us how to do it.

I want to believe that cli-fi is the most urgent and engaged fictional aspect of our time, the literature of survival, above and beyond ideologies. Incomparably more urgent than in Jules Verne's time, when he imagined the effects of a slope of the Earth's axis on the planet's climate in a novel about buying the North Pole, and predicted a sudden and brutal drop in temperature in Paris a century in advance. 
In the 1960s, the temperature in Paris did not drop above average. And in the summer of this year, it rose to unimaginable degrees. Verne speculated, working exclusively with the imagination and expectations of the moment. Today's cli-fictionists operate with real and immediate dangers, with the catastrophes of the present: storms of biblical proportions, hurricanes, floods, scorching heat, water shortage, polar melting, rising oceans, galloping desertification. 

Some of these themes inspire the generally elective accounts of a collection of short digital narratives titled Warmer, which Amazon, in a "literary biodiversity effort", recently launched with experienced, quality novelists, though with no links to this genre of fiction, such as Jane Smiley, Lauren Groff and Jess Walter.
The online cultural magazine Guernica dedicated its March issue to the influx of cli-fi, which has long since gained a monthly page on the Internet, signed by Amy Brandy, whose name, ''Burning Worlds'', even seems provocative to our current Brazilian Minister of the Environment. Brandy has partnered with Yale's Climate Connections and follows all of Yale's literary and essay production focused on environmental issues. It is the best guide in the cli-fi universe via the Cli-Fi Report curated by Dan Bloom since 2011 at

Although a new J.G. Ballard or a  new Margaret Atwood for the 21st century hasn't come along yet, but hey, stay tuned!

(Ainda não surgiu um novo J.G. Ballard, uma nova Margaret Atwood, mas é bom ficar atento!)

I was initially interested in the experiences of Lauren Groff and Louise Erdrich. In Future Home of the Living Dead, Erdrich reveals a world in which the seasons of the year have disappeared and the natural evolution of the species begins to recede. Groff touches on a very important philosophical and existential question in Boca Raton: is it worth having a child at this beginning of the end of the world? And that leads us to Jess Walter's The Way the World Ends, in which, at a certain point, a boy complains: "It is one thing to hear adults say that Santa Claus does not exist, but it is hard to hear them say that the future does not exist".


========================================== P.S.==================

NOTES from literary blogger Dan Bloom:

When Brazilian literary critic Sergio Augusto wrote about a new cli-fi novel in Brazil by compatriot Joca Reiners Terron titled "Death and the Meteor," he wrote the essay, of course, in Portugese. I was lucky enough to find a translation platform in France that was able to decipher Mr. Augusto's article for me, and I read it in English, with both terror and delight.

When ''A Morte e o Meteoro'' (''Death and the Meteor'') was written last year, Terron imagined the Amazon region destroyed, with dozens of hectares of "agonizing trees in the process of being burned by the sun.," is how Mr. Augusto put it. When the novel came out and began to be praised around the country by Brazilian books reviewers and cultural critics, the real Amazon of course still existed, but instead of it being burned by the sun in a series of unspeakable heat waves, the Amazon seemed doomed to die in a process that was characterized as ''charred by burning.''

Mr Augusto, now 77, concluded: ''A Morte e o Meteoro'' is the most outstanding contribution of Brazilian
literature to this year's cli-fi in 2019. That's quite some praise.

One of the consequences of the destruction of the Amazon in Terron's timely novel is the ''exodus'' of 50 indigenous people from the ''kaajapukugi'' Indian tribe, taken to Mexico as political refugees.
"Forget the obvious Hebrew Bible connotations of the Exodus from Egypt story," wrote Augusto. "Their historical, cultural and political resonances are more relevant.''

Augusto not only reviewed Teron's popular Brazilain novel in his essay, he also non-fictional books about the scourges of Anthropocene, zeroing in on the hyphenated David Wallace-Wells' longform essay titled "The Uninhabitable Earth."

Wallace-Wells tells his readers that "it's worse, much worse than you think" -- this ongoing climate emergency we are in in the 2020s --  and extends his ''alarmism'' for 300 pages. The book became a bestseller.

 "What is the meaning of entertaining ourselves with a fictitious apocalypse when we face the possibility of a real?" Wallace-Wells asked. His answer, in plain English: since distraction, sublimation and catharsis is one of the functions of pop culture and literature, cli-fi has a role to play here.

Mr. Augusto himself writes: "I want to believe that cli-fi is the most urgent and engaged fictional aspect of our time, the literature of survival, above and beyond ideologies."

Although new cli-fi writers like J.G. Ballard or Margaret Atwood haven't come along yet in the first part of the 21st century, such writers may very well emerge in the 2020s or 2030s,or later, Augusto envisions. He sees hope and promise in the way modern literature in many countries is raising many voices in a variety of tongues, and he puts a lot of his hope in Brazil, his native country.

I, for one, salute Sergio Augusto for his vision and his calm. There's so much at stake here.

Friday, October 25, 2019

Chris Hammer wins Dagger for Scrublands, a ''heatwave of a novel, scorching and powerful and with an acute sense of place''.

Chris Hammer wins Dagger award in Australia for ''Scrublands,'' a ''heatwave of a cli-fi novel, scorching and powerful and with an acute sense of place''.

Crime spree wins Aussie writer a Dagger

The Sydney Morning Herald-5 小時前
Only two years ago Jane Harper won the British Crime Writers' Association's Gold Dagger for Crime Novel of the Year for ''The Dry,'' a cli-fi crime novel that examined the quiet desperation of a rural town during times of climate change and year-on-year drought.
Chris Hammer wins Dagger for Scrublands, a ''heatwave of a novel, scorching and powerful and with an acute sense of place''

The award from the UK Crime Writers' Association further underlines the international popularity of the crime subgenre of outback noir, in which Australia’s regional and rural landscape is challenging the stranglehold of genteel English crime fiction and the bleak wintry landscapes of Scandi noir.
Only two years ago Jane Harper won the British Crime Writers' Association's Gold Dagger for Crime Novel of the Year for The Dry, a book that examined the quiet desperation of a rural town during times of climate change and year-on-year drought.

Hammer said he couldn't be happier. ''When I was writing Scrublands, I don't think I knew what a Dagger was, or had heard of the UK Crime Writers Association awards. I was hoping to get published in Australia; I wasn't thinking about the UK. It helps demonstrate just how eager international audiences now are to read Australian crime writing.''
The award coincides with the publication of Hammer's second book, Silver, in which his protagonist from Scrublands, Martin Scarsden, returns to his childhood haunt to solve an old friend's murder.
Scrublands, by Chris Hammer.
Scrublands, by Chris Hammer.
''Scrublands was written in stolen moments, late at night and on weekends,'' Hammer said. ''With Silver, I had the great good fortune to be able to work on it full time. It was still challenging to meet the deadline for Silver, but I think in some ways that helped me avoid some of the pitfalls of the so-called second novel syndrome. I became so focused on writing the story and trying to make it the best book I could, that I didn't have time to over-think it or start thinking about myself.''
Now writing his third crime novel, success has ruled out a return to journalism.
''I just love writing fiction too much,'' he said. ''I also loved being a journo, but that was then and this is now. I'm having too much fun.''

''Waterline'' by Chris Else is a mix of cli-fi, black comedy and domestic drama. With a lot of rain.

Book review: Waterline by Chris Else

Waterline is a mix of cli-fi, black comedy and domestic drama. With a lot of rain.
Waterline is a mix of cli-fi, black comedy and domestic drama. With a lot of rain.
Imagine a world 50 or even 100 years from now where all the dire predictions about sea-level rise and coastal erosion have come true and where personal devices run our lives.
Such is the tension-filled environment of Chris Else's imaginative new novel – the ninth work of fiction from this respected New Zealand author.
But Waterline is not your average cli-fi thriller. It's a compelling mix of suspense, black comedy, domestic drama and unorthodox romance, set some time in the future to provide an unsettling yet convincing backdrop to some very familiar themes. While tending towards a literary genre, especially in his often sparse, staccato, conjunction-skipping prose, Chris Else knows how to tell a good story – as he ought, having penned a treatise or two bemoaning the tendency of New Zealand authors to steer away from the art of telling stories.
He has also introduced relatable characters, telling the story from several points of view, but focusing largely on what happens to Brian and Stella when the computerised bureaucracy decides to allow Stella to stay in the bleak, damp city of Byte and deregisters Brian for a trumped-up crime that holds him in a prison cell for a few days. From there, he is expelled to Strawfield, which has an even lower ranking than Byte. Brian tries to make a go of it there, moving in with the accommodating Wendy and using his IT skills to claw his way back up, trying to earn back the high status he and Stella once had in their home city – a city they had to leave when high waves from a massive storm delivered their house into the ocean. The very real threat of the effects of climate change, the constant rain, the menace hanging in the air that there was some other trauma that caused Stella and Brian to flee in such a hurry, creates a constant background tension. It grows exponentially as Stella – left to her own devices with Brian detained in Byte – tries to cope with a semi-derelict rental home, the absence of the trailer filled with their possessions (which Brian was towing), and the immediate need for something to eat for herself and her two teenage children, Mandy and Luke.
Along to the rescue comes Geordie, a man with his own sense of menace, who solves their immediate problems but creates others. Geordie turns out to be the leader of an alternative self-sufficient commune – low-tech, environmentally friendly, riven with rivalries, many caused by their sexual freedom. Their way of life is opposed to the religiously fanatical, technologically dependent people of Byte, and the two communities are at frequent loggerheads.
Brian repudiates Stella to regain his status (destroyed when hers drops overnight after she moves in with Geordie) and Stella's sudden arrival as Geordie's partner divides the commune in half.
And so the scene is set for a dramatic denouement, where future technology adds to the excitement but the events that occur could be relevant to any time or place, past, present or future, where there's a lot of rain.
Waterline is a mix of cli-fi, black comedy and domestic drama. With a lot of rain.

Thursday, October 17, 2019

Ces cli-fi films « catastrophe » qui nous donnent envie de sauver le monde -- by Margaux Dussert in FRENCH

Ces films « catastrophe » qui nous donnent envie de sauver le monde

Le 16 oct. 2019
Quel est le point commun entre les abeilles-robots tueuses de Black Mirror, le roman dystopique MaddAddam de Margaret Atwood et le film Le Jour d’après ? Leur prophétie écologique. Mais si la fiction nous alerte de plus en plus quant à l’avenir de la planète, nous aide-t-elle réellement à modifier nos comportements ?
Et si le « grand collapse » dont tous les scientifiques parlent avait lieu demain, en France ? Et s’il signait la fin de notre civilisation ? C’est là le pitch de la série française L’Effondrement, qui sera diffusée au mois de novembre sur Canal+. Une énième fiction climatique qui ne va rien arranger à nos crises d’éco-anxiété. Livres, films, séries, jeux vidéo… il devient difficile d'échapper aux « fictions climatiques ». Et si vous n’êtes pas encore familier avec le genre, écrivait le Guardian en 2017, « vous le serez tôt ou tard »…

Cli-Fi : le courant artistique du XXIème siècle ?

Aux États-Unis, le nombre de fictions reprenant à leur compte les questions écologiques ainsi que certaines thèses scientifiques se sont multipliées ces dernières années. Dans les années 2010, la presse parle même de l’avènement d’un nouveau genre littéraire : la Cli-Fi, un dérivé écologique de la science-fiction qui consiste à raconter le réchauffement climatique, et plus largement l’impact de l’Homme sur la Terre.

Envahissant aujourd’hui nos écrans, le genre a porté des productions à succès comme Le Jour d’après (2004), Snowpiercer (2013) ou Okja (2017).
« Il existe maintenant des centaines de cours de Cli-Fi dans des collèges communautaires et de grandes universités aux États-Unis, au Royaume-Uni et en Australie », raconte le journaliste et père du terme Dan Bloom à Mic. En France, une vingtaine de grandes écoles choisissaient cette année de former leurs élèves aux enjeux climatiques. Preuve que la prise de conscience s’accompagne d’actions. Preuve aussi que la fiction, au même titre qu’une jeune suédoise de 16 ans, peut être un levier puissant pour fédérer autour d’enjeux qui urgent.

La fiction pour infléchir nos comportements

À l’heure où les scénaristes ne jurent que par la dystopie, dans quelle mesure la fiction peut-elle nous aider à prendre conscience du problème, voire à changer de comportements pour le meilleur ? À en croire Anthony Leiserowitz, chercheur étudiant les perceptions du public sur le réchauffement climatique, « le film est, jusqu’à présent, la forme de narration la plus puissante que nous ayons mise au point », assure-t-il à CNN. Et il en a les preuves.
En 2004, il dévoile une étude sur l’impact du film Le Jour d’après sur le public, un long métrage catastrophe porté par le climatologue Jack Hall (Jake Gyllenhaal), lequel prédit l’arrivée prématurée d’une nouvelle ère glaciaire. Ses conclusions ? Les personnes qui ont vu le film et celles qui ne l’ont pas vu ont des opinions différentes sur la question du climat :
1) le film a incité les Américains qui l’ont vu à se préoccuper davantage du réchauffement climatique.
2) Il les a encouragés à entreprendre des actions personnelles, politiques et sociales pour lutter contre.
3) Il semble même avoir influencé l’orientation politique de certains électeurs. À l’époque de l’administration Bush, les personnes qui ont vu le film avaient en effet davantage tendance à se méfier du président et étaient plus susceptibles de faire confiance à des scientifiques et organismes environnementaux que ceux qui ne l’avaient pas vu, avance l’étude.
Instillée au sein de la culture populaire, la représentation des risques environnementaux serait alors capable d’influencer les comportements du public. Un constat que partage Camille Dijoud, cofondatrice de la société de placement de produits éthiques Pixetik. Spécialisée dans les partenariats entre marques engagées et fictions, cette ancienne du CNC est persuadée que ces dernières peuvent influencer positivement la société. Et ce ne sont pas les exemples qui manquent. Il y a d’abord eu le concept des « capitaines de soirée » aux États-Unis. Popularisés grâce aux séries télé, ces héros qui conduisent et donc « ne boivent pas », ont réussi à convaincre les Américains de faire de même, rappelle la fondatrice. Idem pour l’actuel président ukrainien Volodymyr Zelensky, ex-acteur de la série Serviteur du Peuple : « la presse rapporte que cette élection démocratique a été influencée par la série télé dans laquelle il incarnait un professeur d’histoire, Vasyl Holoborodko, élu président pour sauver le pays de la corruption ».

Le besoin de médiation autour des nouveaux récits

Dans ce contexte, pourquoi ne pas accompagner scénaristes et équipes de tournage vers des fictions sensibilisant ou éveillant à l’écologie ? Avec du placement de produit par exemple.
« Il existe des solutions à impact positif dans notre quotidien, dans les secteurs de la grande consommation et de la mode notamment (alimentaire en vrac, upcycling, service de location de chaussures…). Pour autant, ces solutions ne font pas encore partie des habitudes de consommation, explique Camille Dijoud qui a notamment travaillé avec la marque Justine B pour la série Derby Girl. Nous essayons de créer du placement de produit sur-mesure, cohérent avec l’histoire, les personnages et le message à faire passer aux spectateurs. On ne va pas demander à James Bond de passer subitement de l’Aston Martin au covoiturage… »
En phase de tournage, la médiation « écologique » des équipes pourrait aussi influencer une partie de l’intrigue. « De manière traditionnelle, nous intervenons entre la phase de pré-production et le tournage. À terme, il serait souhaitable d’intervenir dès le stade de l’écriture pour renforcer la dimension "à impact positif" de l’intrigue, en dialoguant avec le ou les scénaristes et le réalisateur », conclut Camille Dijoud.
Demain, James Bond pourrait bien rouler en Tesla et déguster des cocktails à base de kombucha. Encore faut-il qu’il y ait un bon fiction sustainable manager sur le plateau.

Tuesday, October 15, 2019

Why was the Eric Holthaus moving profile of Greta Thunberg and her dad taken down? "Readers who saw the piece said it was “revealing of some of their personal aspects” and “some details could be misused in the wrong hands.”

Why was the Eric Holthaus moving profile of Greta Thunberg and her dad taken down? "Readers who saw the piece said it was “revealing of some of their personal aspects” and “some details could be misused in the wrong hands.”

As the mostly-unreported saga of the now-mysteriously-deleted post by Eric Holthaus re his moving portrait and interview with Greta Thunberg and her father Svante Thunberg at The Correspondent continutes to be unreported by the mainstream press, not one word about the sudden deletion and the real and exact reasons why it was taken down, CJR columnist Mathew Ingram goes into a little here:\

Matt at the Columbia Journalism Review explained that the crowdfunded journalism site that is an English-language spinoff of the Dutch site De Correspondent, took down an article by its climate writer Eric Holthaus that included a first-person interview with teenage activist Greta Thunberg, 16.

In a note, Eric told readers that Thunberg’s family didn’t see the article prior to publication and “after it was published, they raised a number of concerns around sensitivities within the piece with me,” Ingram wrote, adding: "Readers who saw the piece said it was “revealing of some of their personal aspects” and “some details could be misused in the wrong hands.”

The Correspondent website tweeted:

''We've taken our piece on Greta Thunberg down. The Thunberg family did not see the piece pre-publication. After publication, they raised concerns around sensitivities within the piece. We understand their concerns and have decided that the right thing to do is take it down.''

Tom van Eckevort tweeted in response:

''When I read it I did think it was quite revealing and some details could be misused in the wrong hands. But I'm surprised a piece like this wasn't approved first. I'm hoping lessons will be learned from this, because you don't want to lose trust between writers and interviewees.''

Tarja tweeted in reply to Tom:

''Yes, my thoughts exactly. I also read it this morning and thought it was rather revealing of some of their personal aspects. Hope no harm will come from it to Greta and her family, and that you've learned your lesson of letting your subjects to preview before publication.''

So now where do things stand? When will the blogosphere or the Twitter World or the mainstream media MSM like the New York Times or the UK Guardian delve into the real reaons that Holthaus article with pics was taken down?

Not one journalist on the left or the right is looking into this, and just accepting that it had to be taken down, deleted, for reasons that are nobody' business, except for the Thunberg family and Eric.

Meanwhile, a blogger in South Africa read the piece the night it appeared online and although it was deleted son after, Grace Smith remembed what was in the article and blogged about it here below.

When will the media in the USA or Sweden look into this and report the reaon reasons the story was abruptly deleted with no real explanation that made any sense. This story needs to be reported, delicately, sensitively, openly. Who will do it?



......I read a brilliant article last night by the Climate Editor of The Correspondent, Eric Holthaus.  He described a visit he enjoyed in his American home from Greta Thunberg and her father Svante.
At this moment the two Thunbergs are travelling in America where they have been invited to speak at various international conferences.   I read an article about them late last night (10th October 2019) in The Correspondent.  I was too tired to concentrate at that late hour, so decided I would come back to it this morning.

...I was so excited when I first read this revealing story about Greta and her father.   It offers a very personal perspective of this young 16 year old Climate Activist.  She was at that moment a favoured contender for the award of this year’s Nobel Peace Prize but in the end she did not win this year.  In his story Holthaus included the informal WhatsApp postings between himself and Greta when they were negotiating her stay at his home.   As far as I recall, his two young sons are aged about 3 and 5.   A beautiful picture of the two youngsters interacting with Greta and their soft animal toys, illustrated the story.

As I continue my tale, I am aware it may not be a fully accurate reflection of what I read as I am unable to check my facts.   I will forge ahead anyway!    I am a great fan of this young Swedish woman and am not prepared to abandon the story because my source material has disappeared into the ether.

The image remains with me of an unaffected but passionate young woman who has made sacrifices in order to promote the ideas she feels so strongly about.   Greta and her father have been away from home for a couple of months already.   They were offered a trip across the Atlantic in a yacht as air-flight is totally against Greta’s principles.   The pollution produced by aeroplanes is far too extreme.
As I do not have Greta’s memory for articulating facts, I need to speak in generalisations.  What I learned in the article was that an alternative fuel for aeroplanes is going to be very difficult to find.   Batteries are too heavy, and other potential sources of energy have other practical difficulties.   Therefore the possibility of them being used for air flight in the near future is very low.

The Challenges of being a Celebrity

In his description of the stay of Greta and Svelte, Holthaus gave me an idea of the sacrifices the couple have made by spending so much time away from home and the rest of the family.   Greta’s mother and younger sister remain behind in Sweden, and it may be a good few months before the family is once again united.   Greta and her Dad have been invited to a major conference in South America in Chile in December.

The one problem with attending this conference will be negotiating a return trip to Europe by sea in March 2020.   Apparently at that time of the year the currents are not favourable for sailing from West to East.    The travelling duo has still to overcome that practical issue before finalising their plans.

An idealistic new piece of journalism describes the story of an idealistic Climate Activist and her father.   And, true to the aims of The Correspondent, the delightful story has been taken down because of its sensitive content.   I hope my memory grasps the essence of the story without causing any offence.

A few times, whilst talking about the complex logistics of their travelsthe conversation shifts to what Svante calls “escape routes”. At every point on their trip, they have at least one or two ways to leave the continent immediately, if necessary, with varying levels of carbon spent, he explained to Eric.

I didn't notice any "sensitive travel plans" with "legit safety concerns" in Eric olthaus interview with GretaThunberg  and Svante Thunberg that Eric was forced to delete after getting strong complaints from Greta Incorporated. I'm guessing that the biggest reason her family said "please delete entire text and photos" was because of their admission that they are considering flying Greta and dad back to Sweden if stress levels get too high ...or ....after the Chile UN conference is over in December....