Week 2 notes slow violence by nixon.doc

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Women and Gender Studies
Michelle Murrphy

Week 2 readings: Slow Violence and environmental Storytelling by Nixon - How can environmental writer’s craft emotionally involving stories from disasters that are slow moving and attritional, rather than explosive and spectacular? - This narrative challenge is called "slow Violence" - - slow violence often fuels social conflicts that arise from desperation as life-sustaining conditions incrementally – rather than suddenly – erode like climate change or oil spills and the long term emergencies that result from it are ignored b news organizations in pursuit of eye catching stories - The insidious workings of slow violence derive largely from the unequal power of spectacular and unspectacular time- slow violence is deficient in special effects in movies to boost ratings - To confront slow violence requires, then, that we plot and give shape to formless threats whose fatal repercussions are dispersed across space and time. The storytelling challenges are acute, requiring creative ways of drawing public attention to catastrophic acts that are low in instant spectacle but high in long-term effects. - slow violence visible requires, among other things, redefining speed. We see such efforts in talk of accelerated species loss, rapid climate change, and in attempts to recast “glacial” – once a dead metaphor for “slow” –as a rousing, iconic image of unacceptably fast loss. - such documentaries have been creative in the slow violence dilemma such as Josh Fox's gasland where he used calamities an emotional focus by taking a lighter to a water coming out of faucet and it goes on fire this is an example of STRIKING VISUAL IMAGERY - another creativity is the use of RECONFIGURE BIG STOR
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