Film Matters: Please tell us about your article that is being published in Film Matters.
Georgina Beeby: This article is about pretrauma cinema in relation to the film WALL-E. It explores E. Ann Kaplan’s proposal of pretrauma as a subgenre by explaining how pretrauma films are defined and examining what their function may be. WALL-E is closely analyzed as an example of a pretrauma film as it fulfills the definitions but showcases how the function of the subgenre is difficult to pinpoint. The article aims to show how pretrauma cinema functions to both encourage audiences to face the climate anxieties of our society, but also how these films sometimes simply act as catharsis to the audience whilst no real change is enacted.
FM: What research and/or methodologies do you incorporate in your article?
GB: I focus heavily on Kaplan’s theory of pretrauma cinema and Ellen E. Moore’s criticisms of it as a proposed genre. I also did a lot of research outside of academic texts – such as the National Geographic magazine article – because I wanted to make sure the essay focused on the visible impact of global warming and environmental harm. My main focus when writing the essay was to place pretrauma cinema within a specific genre and analyze its impact from an environmental standpoint.
FM: Describe the original context for/when writing this article while an undergraduate student.
GB: I wrote this essay during my third year of undergrad at the University of St Andrews. It was written for a genre module run by Dr Tyler Parks. I knew I wanted to focus on eco-cinema and/or science fiction because both of those genres interested me with regards to their real-world implications. When I came to Dr Parks with a very rough idea of what I wanted to write about, he recommended that I read E. Ann Kaplan’s theory of pretrauma cinema. Kaplan’s work was perfect for what I wanted to write about and as soon as I started reading her paper, I knew her work would be the focus of my essay. The idea to focus on WALL-E came a little later, after I’d picked apart a dozen films. I wanted to focus on an animated kids’ film, in particular, because I think those films are often able to communicate darker messages through innocent disguise. I think that adds a layer to pretrauma cinema – sometimes we aren’t even aware we’re consuming something traumatic because we’re distracted by the cute, cartoonish characters!
FM: How have your personal experiences shaped and influenced your writing?
GB: Before settling on Film Studies as my major I did a lot of Philosophy (throughout high school and university) and briefly considered majoring in it alongside Film. Coming from a more philosophical background rather than film made me want to construct my essays on something I had a strong opinion about and could use a film and theory to explore. I think taking that stance has really influenced my writing as I like to iron out my own beliefs before I even think about analyzing a subject. I also wrote this particular essay amidst the beginnings of the Coronavirus Pandemic (May 2020), whilst shielding with my family in isolation, on a laptop that barely functioned for longer than ten minutes. It was an unusual time for me, and my frustrations about capitalism, large corporations, and the hypocrisy of so many things really pushed me whilst writing the essay. I think all of these experiences shaped the bulk of my writing, both in general, and especially in this article.
FM: What aspects of the writing process were most challenging? Why?
GB: The most challenging aspect was (and often is for me) figuring out exactly what I want to say in the essay – what I want the focus to be. I usually have a lot of thoughts, opinions, and information I want to put down in an essay, so I have to remind myself that less is sometimes more and having an in-depth, close focus of one small topic is more beneficial than a broad argument that becomes vague. In the case of this essay, I tried to reel back my own frustrations, which could have led to the essay becoming more of a rant and having less of an argument.
FM: What do you enjoy most about your article?
GB: I really enjoy how topical it feels – this past year alone (with a pandemic, heat waves, and an increase in forest fires) shows how the damage depicted in WALL-E really is looming on us now. It is also probably the easiest of my undergrad essays to discuss with people who don’t study film because a lot of people have seen WALL-E or know the basic premise. WALL-E is a simple film, and ultimately this is a simple essay; I really enjoy that about it.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
GB: The feedback I received from the peer reviewers was incredibly beneficial when it came to editing the essay later – they included specific sentences/pages I should focus on and explained how it could be written better. The article has improved tenfold because of this feedback. The actual publication process thus far has also been very smooth going – Film Matters has consistently been very responsive and approachable, and I’ve felt very supported by them.
FM: What audience do you hope to reach with your Film Matters article and/or what impact do you hope it has on the field of film studies?
GB: I hope the essay appeals to both academics and nonacademics as this topic is universally important; we are all affected by the message in WALL-E and we should all think about our personal impact on the environment. I also hope the essay shines a greater light on Kaplan’s work and we can start to consider pretrauma cinema as its own genre, rather than a subgenre.
FM: How has your department and/or institution supported your work in film and media?
GB: The Film Studies department at St Andrews is truly amazing. The lecturers are engaging and enthusiastic and they work hard to keep students as informed about opportunities as possible. This last semester my lecturer shared information about a TV shoot that would be in town – because of her email I applied and managed to get some hands-on experience in the industry! They work hard to keep us engaged in both the academic and practical aspects of film and really set us up to get involved in whichever aspect of the industry we best suit.
FM: How has your faculty mentor fostered your advancement as a film scholar?
GB: My writing has improved slowly over the years – and so has my confidence. This is almost entirely due to the support I have received from the department. They direct me to useful and informative scholarship (like Kaplan), and they even were the ones to encourage me to submit an essay to Film Matters in the first place. I would never have even considered doing it before then, so I feel very grateful for the push.
FM: What advice do you have for undergraduate film and media scholars?
GB: Write about what interests you! I do much better in my essays if I am passionate about the topic – and even if I don’t do amazing, I still feel very satisfied. Plus, it is hard to consider an essay that was graded badly as a waste of time if you ended up learning something about a film or show or game that you love. It keeps you inspired and interested. Also, read as much as you can and be bold enough to submit your essays to places! Even if you don’t get accepted, the feedback provided will be invaluable for you going forward.
FM: What are your future plans?
GB: At the minute I’m pursuing a Master’s in Film Studies at St Andrews University. Beyond that I would love to stay involved in this industry – either in a practical or academic sense. Most of my essays at honors have focused on animated cinema and I think I would like to continue that focus – either by continuing to research animation or by working in the animation industry in some capacity.
Author Biography
Georgina Beeby is a recent University of St Andrews Film Studies graduate. Her interests in film focus on animated cinema, environmentalism in film, and feminism in media.
