A CINEMATOGRAPHER AND THEIR DEVELOPING ROLE IN TACKLING CLIMATE CHANGE

Abstract: Film production is a major contributor to global greenhouse emissions. A Screen New Deal, pub-lished by the British Film Institute in 2020, outlines that: Data analysis shows that one average tentpole film produc tion – a film with a budget of over US$70m – gen-erates 2,840 tonnes of CO2, the equivalent amount absorbed by 3,709 acres of forest in a year. Within this, transport ac counts for approximately 51% of carbon emissions, mains electricity and gas use accounts for around 34%, and diesel generators for the remaining 15% (British Film Institute, 2020, p. 4). It is, therefore, vital that the key labour force on a film project, the production crew, become part of the solu-tion instead of continu ing to be part of the problem. At a time when the US industry aims to promote natural light, as evidenced by Nomadland’s BAFTA and Oscar wins, but where major carbon emissions continue to be generated by cinematographic practices, my work seeks to develop replicable working methods that can substantially reduce the envi ronmental harms of the cinematography department. In this short article, I will ask how I, as a practising cinematogra pher, can introduce change through my own practice. With refer ence and case study to my practice in the feature films Mind-Set (Murray, 2022) and How You Look At Me (Gonzalez, 2019).

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