animal tissue. The same idea applies to digital filmmaking (as in the case of Diritti’s film), which relies ‘on the extraction and burning of fossil fuel’ (p.93). Cinema, as an art and industry – even ecologically sensitive cinema – is based on a premise of violence against the non-human world, and is therefore an expression of human arrogance. As troubling as that conclusion may be, Italian Ecocinema: Beyond the Human is infused by a sense of joy and adventure, inaugurating a new approach to Italian film. Along with the other recent publications in the field, such as Serenella Iovino’s Italy and Ecocriticism (Bloomsbury, 2016) and edited volumes, such as Italy and Environmental Humanities (Iovino, Cesaretti, and Past, The University of Virginia Press, 2018), Past’s book is a significant contribution to what feminist philosopher Rosi Braidotti defines as the ‘decentering of man’ in the humanities. It represents a major advancement to the greening of the Italian studies, as well as an original addition to the thriving field of ecomedia. As the body of (Italian) ecologically concerned films grows, and the awareness of cinema’s footprint spreads among filmmakers and producers, Italian Ecocinema is an inspirational text for current and future generations of scholars in its call for an ethically engaged scholarship and for more collaborative projects.

中文翻译：

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新意大利与犹太人：从Massimo D'Azeglio到Primo Levi，

动物组织。同样的想法也适用于数字电影制作（例如Diritti的电影），它依赖于“化石燃料的提取和燃烧”（第93页）。电影作为艺术和工业，甚至是对生态敏感的电影，都是基于对非人类世界的暴力前提，因此是人类自大的一种表现。这个结论可能令人不安，《意大利生态电影：超越人类》充满了欢乐和冒险感，开创了意大利电影的新方法。以及该领域最近的其他出版物，例如塞雷内拉·伊维诺（Serenella Iovino）的《意大利与生态批评》（Bloomsbury，2016年）和编辑后的书卷，例如意大利和环境人文学科（Iovino，Cesaretti和Past，弗吉尼亚大学出版社，2018年），过去的书对女权主义哲学家罗西·布雷多蒂（Rosi Braidotti）定义为人文科学中的“人的偏心”做出了重大贡献。它代表了意大利研究的绿色化方面的重大进步，也是生态媒体蓬勃发展的原始补充。随着（意大利语）与生态有关的电影的主体不断壮大，并且电影制片人和制片人之间对电影足迹的关注也在不断扩散，意大利《生态电影》是当代和后代学者的鼓舞人心的文字，呼吁建立具有道德精神的奖学金和开展更多合作项目。