2. The anecdote of Narrator’s life and the montage of shots from his past
experiences of climate-change protests, creates an instant relationship
with viewers. It shows the narrator as a person and not just a voice-of-
god figure. By conveying moments from his childhood relationship with
his mother it creates a sense of personal identity for the audience. In
terms of Maslow’s Hierarchy of Needs it appeals to the drive for love
and belonging.
3. In the close-up of the narrator you can
see a wall of tools and a bookshelf. The
tools could connote the industrial world -
one of the main contributors to global
warming. The books could connote
deforestation another contributor to
climate change.
4. There is a montage of short-takes as the narrator talks about his plans for his
trip. The short-takes could connote the brief amount of time left in which to
affect climate change. This is derived from and feeds the ideology which states
fast action is required in order to make a difference.
There are shots that show the cameraman and the equipment. This insight into
how the documentary was made appeals to audience members who are
information-seeking according Blumler and Katz’ Uses and Gratifications.
5. There is a short animation part towards the start of the documentary.
When There is a short animation section near the beginning showing the
transition between different types of global warming. It informs the
audience about the effects of climate change on the human race. It
appeals to the individual’s morality (according to the Hierarchy of Needs)
possibly prompting them to want to take action to halt the progress of
catastrophe.
6. A number of establishing shots are used when Iceland is introduced.
These include a mixture of extreme long-shots and tracking shots
which accentuate the message that large areas of land are being
affected. This coupled with the orchestral music adds a serious mood
to the piece.
7. Diegetic dialogue such as: ‘...and that is a problem that affects
everyone, everywhere!’ emphasises that nowhere is safe. This hard-
hitting message appeals to the audience to accept the ‘facts’ and
opinions being offered.
There is a long-shot of the team taking samples on the vast expanse of
ice. It connotes that they are alone in their concern for climate change
and that they are isolated in their views and opinions. It also shows
that although global warming is a big problem that needs to be dealt
with, too few people are working on it to make a difference.
8. As they track into the diagram of the glacier, there is a Foley Sound of
strong wind. The narrator warns: ‘it’s one of the fastest-retreating
glaciers in the world’. The sound here connotes the rapid retreat of the
glacier and how it cannot be stopped. The prominence of the sound
emphasises the scale of the problem and grabs the audience’s
attention by making the melting of the glacier seem more dramatic.
9. There is an extreme helicopter long-shot of looming fog converging on
the landscape. The proximity of the fog to the camera connotes the
imminence off climate change and its potential for global destruction. It
emphasises how little time there is left to affect change before it is too
late.
10. There is a long-shot and a track
to the right as the three men
walk off into the distance. This
connotes how they’re tackling
climate change head-on and
actively trying to prevent it. The
tracking to the right draws the
audience’s eye inwards as if the
film maker is attempting to
make the audience travel along
with the men implying their
partnership in tackling climate
change.
11. The commentary on the largest glacier-break to be caught on camera
overlays a graphic of Manhattan on the resulting iceberg. This enables
the audience to understand the scale of the problem, and helps less-
sophisticated audiences to engage. It appeals to viewers looking for
information and social interaction, according to Uses and Gratifications,
giving them something to discuss with others.
12. The eye-line match of the glacier and the talking men connotes the
filmmaker’s attempt to include the audience into the conversation and
imply that climate change isn’t just a problem for scientists, it involves
everyone.
13. The time-lapse of the sun setting could connote the idea that time is
running out and that control over events is being lost. The fade-to-
black connotes how quickly things could take a turn for the worse if we
don’t act.
14. The montage of the expedition and the non-diegetic acoustic-guitar
score connote the peacefulness and tranquility to be found in nature.
The music sets a reflective tone prompting the audience to appreciate
Greenland’s natural beauty in the hope that they will want to help
prevent climate change and save the environment.
15. There is an extreme high-angled long-shot of
scientists travelling on their expedition. There’s
a non-diegetic score and more extreme long-
shots showing the team traveling to a camp
site. The mix of music and shots connote a free
and wild world and establish a value for
outstanding natural beauty. Like the montage it
connotes a sense of peace and implies the
possibility of great loss if global warming is left
unchecked.
16. There is a medium shot of three
men by a campfire talking about
what can be done. One says: ‘I’m
really confident that (the
younger) generation has the
capacity to act’. This appeals to
the younger audience and
informs them of their
responsibility to act. It signifies
the filmmaker’s intention to
inspire people to go out and do
something about global warming.
17. ‘People are gathering in cities around the world they are rising up in hope and solidarity and
determination to change everything.’
This diegetic dialogue along with images of protest marches across the world connotes the
unity and sense of togetherness that climate change supposedly brings. It urges audiences to
join the protesters and become part of the movement. This may well satisfy the audience’s
desire for social interaction, according to Uses and Gratification as it prompts audiences to
talk about climate change with the people around them.
