The blowout of the Deepwater Horizon and subsequent underground oil spill in the Gulf of Mexico in 2010 is considered by many to be the worst environmental disaster in U.S. history. Interest groups, public officials, and media organizations have spent considerable time documenting the economic and ecological impacts of this spill as well as the causes of the spill, ostensibly to prevent future disasters of this magnitude. However, rather than an unbiased search for answers, such investigations involve strategic efforts by a variety of political actors to define the spill and its causes in ways that lead to their preferred policy solutions. Framing Environmental Disaster evaluates the causal stories that environmental groups tell about the spill and develops theoretical propositions about the role of such stories in the policy process. Which actors do groups hold responsible, and how do groups use blame attributions to advance their policy agendas? Constructing a creative methodological approach which includes content analysis drawn from blog posts, emails, press releases, and testimony before Congress and insights and quotations drawn from interviews with environmental group representatives, Melissa K. Merry argues that interest groups construct causal explanations long before investigations of policy problems are complete and use focusing events to cast blame for a wide range of harms not directly tied to the events themselves. In doing so, groups seek to take full advantage of “windows of opportunity” resulting from crises. An indispensable resource for scholars of public policy and environmental politics and policy, this book sheds new light on the implications of the gulf disaster for energy politics and policies while advancing scholarly understandings of the role of framing and causal attribution in the policy process.

Environmental Risks and the Media explores the ways in which environmental risks, threats and hazards are represented, transformed and contested by the media. At a time when popular conceptions of the environment as a stable, natural world with which humanity interferes are being increasingly contested, the medias methods of encouraging audiences to think about environmental risks - from the BSE or 'mad cow' crisis to global climate change - are becoming more and more controversial. Examining large-scale disasters, as well as 'everyday' hazards, the contributors consider the tensions between entertainment and information in media coverage of the environment. How do the media frame 'expert', 'counter-expert' and 'lay public' definitions of environmental risk? What role do environmental pressure groups like Greenpeace or 'eco-warriors' and 'green guerrillas' play in shaping what gets covered and how? Does the media emphasis on spectacular events at the expense of issue-sensitive reporting exacerbate the public tendency to overestimate sudden and violent risks and underestimate chronic long-term ones?

Scientists and politicians are increasingly using the language of risk to describe the climate change challenge. Some researchers have argued that stressing the 'risks' posed by climate change rather than the 'uncertainties' can create a more helpful context for policy makers and a stronger response from the public. However, understanding the concepts of risk and uncertainty - and how to communicate them - is a hotly debated issue. In this book, James Painter analyses how the international media present these and other narratives surrounding climate change. He focuses on the coverage of reports by the Intergovernmental Panel on Climate Change (IPCC) and of the melting ice of the Arctic Sea, and includes six countries: Australia, France, India, Norway, the UK and the USA.

This book presents an overview of research on the psychological and societal consequences of ecological disasters. It gives in-depth case studies on most of the major incidents that have occurred in the 1980s and 1990s. It summarizes the accumulated knowledge in this area and identifies areas of future research. It can serve as a resource for practitioners and policymakers dealing with current and future ecological calamities and may help them to define an adequate response to the complex public health challenges these incidents represent.

For many years, the objective of environmental campaigners was to push climate change on to the agenda of political leaders and to encourage media attention to the issue. By the first decade of the twenty-first century, it appeared that their efforts had been spectacularly successful. Yet just at the moment when the campaigners’ goals were being achieved, it seemed that the idea of getting the issue into mainstream discussion had been mistaken all along; that the consensus-building approach produced little or no meaningful action. That is the problem of climate change as a ‘post-political’ issue, which is the subject of this book. Examining how climate change is communicated in politics, news media and celebrity culture, Climate Change and Post-Political Communication explores how the issue has been taken up by elites as potentially offering a sense of purpose or mission in the absence of political visions of the future, and considers the ways in which it provides a focus for much broader anxieties about a loss of modernist political agency and meaning. Drawing on a wide range of literature and case studies, and taking a critical and contextual approach to the analysis of climate change communication, this book will be a valuable resource for students and scholars of environmental studies, communication studies, and media and film studies.

While digital media give us the ability to communicate with and know the world, their use comes at the expense of an immense ecological footprint and environmental degradation. In Finite Media Sean Cubitt offers a large-scale rethinking of theories of mediation by examining the environmental and human toll exacted by mining and the manufacture, use, and disposal of millions of phones, computers, and other devices. The way out is through an eco-political media aesthetics, in which people use media to shift their relationship to the environment and where public goods and spaces are available to all. Cubitt demonstrates this through case studies ranging from the 1906 film The Story of the Kelly Gang to an image of Saturn taken during NASA's Cassini-Huygens mission, suggesting that affective responses to images may generate a populist environmental politics that demands better ways of living and being. Only by reorienting our use of media, Cubitt contends, can we overcome the failures of political elites and the ravages of capital.

Nothing provided