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Individual essays resituate well-researched environmental films such as An Inconvenient Truth and March of the Penguins by paying close attention to their emotionalizing strategies, and bring to our attention the affective qualities of films that have so far received little attention from ecocritics, such as Stan Brakhage's Dog Star Man.     The collection opens a new discursive space at the disciplinary intersection of film studies, affect studies, and a growing body of ecocritical scholarship. 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