National parks occupy a prominent place in the Canadian imagination, yet we are only beginning to understand how their visual representation has shaped and continues to inform our perceptions of ecological issues and the natural world. J. Keri Cronin draws on historical and modern postcards, advertisements, and other images of Jasper National Park to trace how various groups and the tourism industry have used photography to divorce the park from real environmental threats and instead package it as a series of breathtaking vistas and adorable-looking animals. Manufacturing National Park Nature demonstrates that popular forms of picturing nature can have ecological implications that extend far beyond the frame of the image.

The Grand Canyon of the Colorado River is an internationally known feature of the North American landscape, attracting more than five million visitors each year. A deep cultural, visual, and social history has shaped the Grand Canyon’s environment into one of America’s most significant representations of nature. Yet the canyon is more than a vacation destination, a movie backdrop, or a scenic viewpoint; it is a real place as well as an abstraction easily summoned in the minds of Americans. The Grand Canyon, or the idea of it, is woven into the fabric of American cultural identity and serves as a cultural reference point—an icon. In Framing Nature Yolonda Youngs traces the idea of the Grand Canyon as an icon and the ways people came to know it through popular imagery and visual media. She analyzes and interprets more than fourteen hundred visual artifacts, including postcards, maps, magazine illustrations, and photographs of the Grand Canyon, supplemented with the words and ideas of writers, artists, explorers, and other media makers from 1869 to 2022. Youngs considers the manipulation and commodification of visual representations and shifting ideas, values, and meanings of nature, exploring the interplay between humans and their environments and how visual representations shape popular ideas and meanings about national parks and the American West. Framing Nature provides a novel interpretation of how places, especially national parks, are transformed into national and environmental symbols.

On September 4, 1915, hundreds of people gathered in Estes Park, Colorado, to celebrate the creation of Rocky Mountain National Park. This new nature preserve held the promise of peace, solitude, and rapture that many city dwellers craved. As Jerry Frank demonstrates, however, the park is much more than a lovely place. Rocky Mountain National Park was a keystone in broader efforts to create the National Park Service, and its history tells us a great deal about Colorado, tourism, and ecology in the American West. To Frank, the tensions between tourism and ecology have played out across a natural stage that is anything but passive. At nearly every turn the National Park Service found itself face-to-face with an environment that was difficult to anticipate—and impossible to control. Frank first takes readers back to the late nineteenth century, when Colorado boosters—already touting the Rocky Mountains’ restorative power for lung patients—set out to attract more tourists and generate revenue for the state. He then describes how an ecological perspective came to Rocky in fits and starts, offering a new way of imagining the park that did not sit comfortably with an entrenched management paradigm devoted to visitor recreation and comfort. Frank examines a wide range of popular activities including driving, hiking, skiing, fishing, and wildlife viewing to consider how they have impacted the park’s flora and fauna, often leaving widespread transformation in their wake. He subjects the decisions of park officials to close but evenhanded scrutiny, showing how in their zeal to return the park to what they understood as its natural state, they have tinkered with its features—sometimes with less than desirable results. Today’s Rocky Mountain National Park serves both competing visions, maintaining accessible roads and vistas for the convenience of tourists while guarding its backcountry to preserve ecological values. As the park prepares to celebrate its centennial, Frank’s book advances our understanding of its past while also providing an important touchstone for addressing its problems in the present and future.

Organ, James Peek, William Porter, John Sandlos, James A. Schaefer

Canadians and the Natural Environment to the Twenty-First Century provides an ideal foundation for undergraduates and general readers on the history of Canada's complex environmental issues. Through clear, easy-to-understand case studies, Neil Forkey integrates the ongoing interplay of humans and the natural world into national, continental, and global contexts. Forkey's engaging survey addresses significant episodes from across the country over the past four hundred years: the classification of Canada's environments by its earliest inhabitants, the relationship between science and sentiment in the Victorian era, the shift towards conservation and preservation of resources in the early twentieth century, and the rise of environmentalism and issues involving First Nations at the end of the century. Canadians and the Natural Environment to the Twenty-First Century provides an accessible synthesis of the most important recent work in the field, making it a truly state-of-the-art contribution to Canadian environmental history.

The stunning portrayals of the Canadian landscape in the documentaries produced by the National Film Board of Canada, not only influenced cinematic language but shaped our perception of the environment. In the early days of the organization, nature films produced by the NFB supported the Canadian government’s nation-building project and show the state as an active participant in the cultural construction of the land. By the mid-1960s however, films like Cree Hunters of Mistassini and Death of a Legend were asking provocative questions about the state’s vision of nature. Filmmakers like Boyce Richardson and Bill Mason began to centre the experiences of First Nations people, contest the notion that nature should be transformed for economic gain, and challenge the idea that the North is a wild and empty landscape bereft of civilization. Author Michael Clemens describes how films produced by the NFB broadened the ecological imagination of Canadians over time and ultimately inspired an environmental movement.