Salma Monani is Professor at Gettysburg College’s Environmental Studies department. She has extensively published in ecocinema studies, Indigenous ecomedia, and environmental justice. She is co-editor of four ecocritical media anthologies. As part of her College’s Land Acknowledgment Committee, she also engages in public eco-humanities along with community research with Indigenous partners.

• List of FiguresList of TablesPrefaceLand AcknowledgmentsA Glossary Clarifying the Use of TermsIntroducing D-EcocinemaIntroduction1. D-ecocinema Criticism: Reclaiming Indigenous Eco-Agency2. (Re)rooting Indigenous Place: The ImagineNATIVE Film and Media Festival3. (Re)growing The World: imagineNATIVE as In-Person and Remote Festival4. Timely Interventions: Indigenous Cinema Time(s)5. Snipping and Glitching Colonial Time: The Films of Terril Calder and Caroline Monnet6. Indigenous Affects: Cinematic Humor’s Earthly Embodiments7. Laughter to Breathe: The Films of Zoe Hopkins and Shelley NiroEpilogueAcknowledgmentsBibliographyPrimary FilmographyArtist websites

“Indigenous Ecocinema is a deeply considered, meticulously researched, and cogently reasoned text. Monani’s approach to Indigenous cinema is situated within multiple critical conversations while maintaining a clear and consistent original intervention. She engages cinema from a variety of angles, not limiting herself to the ‘text’ of the film itself, but also considering the filmmakers’ contexts as well as the influence of the venue and audience participating in the screening. I found this study to be compelling and exciting.” — Amy Hamilton, author of Peregrinations: Walking in American Literature“A much-needed addition to the fast-growing fields of Indigenous media and ecocinema studies.  Well-written, with both substantive theoretical heft and, at the same time, a warm and inviting tone and a very readable style, the arguments Monani makes around issues of place, time, and affect comprise a compelling case for the centrality of Indigenous cinematic mediations of ecological consciousness.”  —Joanna Hearne, author of Native Recognition: Indigenous Cinema and the Western and Smoke Signals: Native Cinema Rising

Salma Monani is Professor at Gettysburg College’s Environmental Studies department. She has extensively published in ecocinema studies, Indigenous ecomedia, and environmental justice. She is co-editor of four ecocritical media anthologies. As part of her College’s Land Acknowledgment Committee, she also engages in public eco-humanities along with community research with Indigenous partners.

• List of FiguresList of TablesPrefaceLand AcknowledgmentsA Glossary Clarifying the Use of TermsIntroducing D-EcocinemaIntroduction1. D-ecocinema Criticism: Reclaiming Indigenous Eco-Agency2. (Re)rooting Indigenous Place: The ImagineNATIVE Film and Media Festival3. (Re)growing The World: imagineNATIVE as In-Person and Remote Festival4. Timely Interventions: Indigenous Cinema Time(s)5. Snipping and Glitching Colonial Time: The Films of Terril Calder and Caroline Monnet6. Indigenous Affects: Cinematic Humor’s Earthly Embodiments7. Laughter to Breathe: The Films of Zoe Hopkins and Shelley NiroEpilogueAcknowledgmentsBibliographyPrimary FilmographyArtist websites

“Indigenous Ecocinema is a deeply considered, meticulously researched, and cogently reasoned text. Monani’s approach to Indigenous cinema is situated within multiple critical conversations while maintaining a clear and consistent original intervention. She engages cinema from a variety of angles, not limiting herself to the ‘text’ of the film itself, but also considering the filmmakers’ contexts as well as the influence of the venue and audience participating in the screening. I found this study to be compelling and exciting.” — Amy Hamilton, author of Peregrinations: Walking in American Literature“A much-needed addition to the fast-growing fields of Indigenous media and ecocinema studies.  Well-written, with both substantive theoretical heft and, at the same time, a warm and inviting tone and a very readable style, the arguments Monani makes around issues of place, time, and affect comprise a compelling case for the centrality of Indigenous cinematic mediations of ecological consciousness.”  —Joanna Hearne, author of Native Recognition: Indigenous Cinema and the Western and Smoke Signals: Native Cinema Rising

Salma Monani is Professor at Gettysburg College’s Environmental Studies department. She has extensively published in ecocinema studies, Indigenous ecomedia, and environmental justice. She is co-editor of four ecocritical media anthologies. As part of her College’s Land Acknowledgment Committee, she also engages in public eco-humanities along with community research with Indigenous partners.

• List of FiguresList of TablesPrefaceLand AcknowledgmentsA Glossary Clarifying the Use of TermsIntroducing D-EcocinemaIntroduction1. D-ecocinema Criticism: Reclaiming Indigenous Eco-Agency2. (Re)rooting Indigenous Place: The ImagineNATIVE Film and Media Festival3. (Re)growing The World: imagineNATIVE as In-Person and Remote Festival4. Timely Interventions: Indigenous Cinema Time(s)5. Snipping and Glitching Colonial Time: The Films of Terril Calder and Caroline Monnet6. Indigenous Affects: Cinematic Humor’s Earthly Embodiments7. Laughter to Breathe: The Films of Zoe Hopkins and Shelley NiroEpilogueAcknowledgmentsBibliographyPrimary FilmographyArtist websites

“Indigenous Ecocinema is a deeply considered, meticulously researched, and cogently reasoned text. Monani’s approach to Indigenous cinema is situated within multiple critical conversations while maintaining a clear and consistent original intervention. She engages cinema from a variety of angles, not limiting herself to the ‘text’ of the film itself, but also considering the filmmakers’ contexts as well as the influence of the venue and audience participating in the screening. I found this study to be compelling and exciting.” — Amy Hamilton, author of Peregrinations: Walking in American Literature“A much-needed addition to the fast-growing fields of Indigenous media and ecocinema studies.  Well-written, with both substantive theoretical heft and, at the same time, a warm and inviting tone and a very readable style, the arguments Monani makes around issues of place, time, and affect comprise a compelling case for the centrality of Indigenous cinematic mediations of ecological consciousness.”  —Joanna Hearne, author of Native Recognition: Indigenous Cinema and the Western and Smoke Signals: Native Cinema Rising