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Imaging and Imagining the Future Imaging and Imagining the Future: Rhetorical Visions of Environmental Discourse in Gasland by David E. Hicks Bachelor of Arts Degree, San Diego State University, 1967 Master of Arts Degree, Southern Methodist University, 1977 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado at Boulder in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Communication University of Colorado—Boulder 2012 Imaging and Imagining the Future This dissertation entitled: Imaging and Imagining the Future: Rhetorical Visions of Environmental Discourse in Gasland written by David E. Hicks has been approved for the Department of Communication ______________________________________ Lisa B. Keränen, Chair ______________________________________ Marlia Banning ______________________________________ Robert Craig ______________________________________ Lisa Dilling _______________________________________ Bryan Taylor Date:__________ The final copy of this dissertation has been examined by the signatories and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above- mentioned discipline. HRC Exempt Protocol 0809.6 Imaging and Imagining the Future iii Hicks, David E. (PhD, Department of Communication, University of Colorado-Boulder) Imaging and Imagining the Future: Rhetorical Visions of Environmental Discourse in Gasland Dissertation directed by Professor Lisa B. Keränen. Abstract This study offers a rhetorical vision analysis of contemporary environmental discourse using the critical approaches of text-intertext methodology and fantasy theme analysis. More specifically, it considers how the rhetorical strategies of Josh Fox’s award-winning environmental documentary film, Gasland, configure the human-nature relationship and position stakeholders as potential agents of environmental change. The film speaks to the environmental risks of and devastation from natural gas development, especially the technology of hydraulic fracturing. The rhetorical artistry of Gasland results from a combination of ancient and modern narrative structures―the mythical “hero’s journey” within the context of the American road trip―with roots in Western and American cultural consciousness, which are interwoven with fantasy themes―the apocalyptic narrative, the American Jeremiad, and nature as Eden―that deeply resonate with the socially constituted realities of the modern environmental movement. The film portrays the ideal human-nature relationship as an Eden, humans and nature living in harmony; when humans disregard this balance, as Fox argues the natural gas industry is now doing, the result is an apocalyptic wasteland of illness, desolation, and death. The film urges viewers to “stand up” by learning about this issue and sharing knowledge with others. The film creates a powerful rhetorical vision that is shared by many of its viewers, who form a community around the social reality the film constructs and proceed to act according to its precepts. It also engages the natural gas industry in a strong response that adopts the elements of Fox’s vision but creates a mirror image that reverses its characterizations. Fox’s rhetorical vision of a stark duality of the hero/villain archetype, however, may constrain political responses to the issue of Imaging and Imagining the Future iv natural gas development because of the hero narrative’s implicit romanticization of the individual and its hierarchical framing. Understanding how rhetorical visions are constructed in such texts is of special significance in the arena of environmental issues, where attitudes and actions can affect the quality of life for humans, nonhumans, and the planet. Imaging and Imagining the Future Dedication To my incomparable and amazing wife and best friend of 40 years, Allidah. She is the hurricane beneath my wings. Imaging and Imagining the Future vi Acknowledgements I entered the doctoral program at the University of Colorado, Boulder in 2003 as a nontraditional student; older, with a few careers under my belt, and working full time. I am grateful to the CU Graduate School and especially the Department of Communication for being generous and welcoming to a unique aspiring scholar such as myself. I owe special appreciation to Bryan Taylor and Gerald Hauser, the first professors I met with as I introduced myself to the Department. They were both gracious and supporting in my quest to be a scholar within the academy. Bryan served as my initial advisor in the area of organizational communication and mentored me into the ways of scholarship. Lisa Keränen has been outstanding as my advisor and mentor during the later phase of my journey, as I moved into the study of rhetoric and environmental communication. Lisa has been extraordinary in her patience, wisdom, and kindness while guiding me through coursework, the comprehensive examination, and the dissertation. My committees, both for my comprehensive exam and my dissertation, have been amazingly supportive of my work and have provided insightful assistance and guidance. For their time and attention, I thank Marlia Banning, Robert Craig, Lisa Dilling, Lisa Keränen, Bryan Taylor, and Karen Tracy. In working through the requirements of the graduate school and the complexity of having my advisor move to CU-Denver I have called upon the invaluable assistance of Tim Kuhn and Lisa Flores. Negotiating the final couple of years to the finish line would not have been possible without the help of Julie Ann Blair as the “heart” of the Department office. I owe a debt of gratitude to all of my professors and to my fellow graduate students who I have met and journeyed with over the years. I particularly express my appreciation to Angie White and Katherine Cruger for their encouragement and help. Imaging and Imagining the Future vii My doctoral work has been supported financially and otherwise by my employer, the National Renewable Energy Laboratory, and I especially value the support and encouragement of my immediate supervisors and longtime friends, Anne Jones and Michelle Sosa-Mallory. Without this supportive environment at my “day job,” the effort would have not been possible. For the completion of my dissertation, I thank Devin Egan for her proofreading and editing assistance and Brian Malone for teaching me much of what I know about documentary filmmaking. Of course, none of it would have been possible at all without a solid foundation and for that I thank my family, especially my wife and friend, Allidah, who has put up with years of article and book reading, paper writing, and general agonizing over tasks and deadlines; as well as more than a modicum of grouchiness from her spouse. The support, interest, and help from my son, Brennan, my daughter, Benay, and my son-in-law, Leith, have also been significant contributions to this long effort. Through it all, I have found the University of Colorado’s Department of Communication to be welcoming to and understanding of my unique quest for learning and knowledge in ways that other similar institutions were not capable of. I treasure my advanced degree and the knowledge and friendships I have gained in earning it and I thank the Department and all those associated with it for their support and help. Imaging and Imagining the Future viii Table of Contents Abstract, iii Dedication, v Acknowledgements, vi Table of Contents, viii Prologue, xi Chapter 1 — Rhetoric and the Environment, 1 The Study of Environmental Communication, 4 The Rhetorical Vision Perspective, 11 The Rhetoric of Film, 14 Constructing the Text, 20 The environment and natural gas development, 24 Works into text: Gasland, 28 Organization of the Study, 32 Chapter 2 — Visions and Fantasies, 35 Data Collection Within the Rhetorical Text, 35 Rhetorical Analysis, 41 Constructivism, 42 Media and process of critical rhetoric, 46 Rhetorical Vision Analysis: Theory and Method, 48 Critique and review, 51 Theme and vision analysis, 58 Rhetorical Visions and Environmental Rhetoric, 60 Chapter 3 — Human, Nature, the Environment, and Discourse, 63 The Human-Nature Relationship, 65 Pathways of Environmental Discourse, 69 Thematic Types Found in Environmental Discourse, 75 The sublime, 77 Apocalyptic narratives, 79 American Jeremiad, 87 Utopian narratives, 89 Nature as Eden, 90 Nature as spirit, 92 An ecocentric or biocentric vision, 92 Sustainable development, 94 Green society, 96 Technology as savior, 97 Nature as threatening/powerful/resilient, 98 Imaging and Imagining the Future ix Virtual nature, 99 Island civilization, 100 Conclusion, 101 Chapter 4 — Devastation and Hope: Themes of Gasland, 103 Contextual Background, 104 Setting Themes, 106 Fox’s home, 107 The territory of Gasland, 109 America, 112 Time and space, 113 Character Themes, 114 Josh Fox: the hero, 116 Natural gas industry: the villain, 119 Residents of Gasland, 121 Politicians, 124 Regulators, 125 Experts, 126 Journalists, 127 Technology, 129 Action Themes, 131 Threats to home, 132 A journey, 133 Connectedness, 135 Contamination and pollution, 137 Natural gas industry denials and indifference, 143 Conspiracy, 146 Illness, 149 Fear and horror, 152 Politicians as advocates, 153 Regulatory agencies as ineffective and regulations as ineffectual, 155 Experts finding the truth, 156 Conclusion, 158 Chapter 5 — Denial and Outrage: Responses to Gasland, 160 Natural Gas Industry Responses, 164 America’s Natural Gas Alliance, 166 Barnett Shale Energy Education
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