The landscapes of western movies: a history of filming on location, 1900–1970

with most matters they may deem under-examined or neglected within it. In other words, her entry shows there is still much to be studied and debated in terms of how artists have figured (and continue to aesthetically figure) landscape. Lastly, since Elwes openly acknowledges the benefits of experiencing artwork in person, this book should provide all types of readers with a useful companion for navigating environmentally themed experimental art local to them. Accordingly, I envision Elwes’ book for both academic and non-academic contexts. In my current university setting, it could be a great teaching aid for units on topics like environmental art and experimental film. Selections also could be included in environmental media production courses to introduce students to the rich alternatives for creating media on environmental issues outside of a typical documentary or narrative frame. For instance, this past summer, my advisor was involved in a nine-week environmental media production and documentary studies program called the ‘Coastal Media Project’. While planning her syllabus, she mentioned looking forward to introducing students to environmentally themed films other than conventional nature and wildlife documentaries. Given these remarks, I am confident the program would have welcomed Elwes’ insights had they been available during its run. And if it gets greenlit for future sessions, I’ll recommend the book with enthusiasm to the faculty, filmmakers, and students involved.