In his latest monograph, Sean Cubitt proves his reputation as a leading scholar in media theory. The intellectual scope and breadth of ideas displayed in Anecdotal Evidence: Ecocritique from Hollywood to the Mass Image equal its ambitious aspirations, as Cubitt offers “a root-and-branch rethinking of all the premises of environmentalism, including the concept of ecology” (p. 12). In this way, the book is the culmination of a decade exploring the ecopolitical dimension of contemporary cinema and digital technologies, continuing the “eco-political aesthetics” of Finite Media (2017), but presented here in the form of a series of analyses of popular films, as per his ground-breaking EcoMedia (2005). And yet, Anecdotal Evidence comes with bigger ambitions. For, more than his earlier works, the book is explicitly framed around establishing ecocritique as experimenting a new, open-ended methodology (pp. 37–8); it is an approach aiming at “carefully unpicking the unique moments in which new environmentalities emerge, which here are called anecdotes” (p. 12). Thus, the ecocritique that Cubitt proposes aims to launch an “anecdotal method” (pp. 7–10), with such encounters evidencing a political aesthetics of ecocritique that is more radical than other forms of ecocriticism.

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Sean Cubitt (2020) 轶事证据：从好莱坞到大众形象的生态批评

在他最新的专着中，Sean Cubitt 证明了他作为媒体理论领域领先学者的声誉。《轶事证据：从好莱坞到大众形象的生态批评》中展示的思想广度和广度与其雄心勃勃的抱负相同，因为 Cubitt 提供了“对包括生态概念在内的环保主义所有前提的全面反思”（第. 12）。以这种方式，这本书是探索当代电影和数字技术的生态政治维度的十年的高潮，延续了有限媒体（2017）的“生态政治美学” ，但在这里以一系列分析的形式呈现流行电影，根据他开创性的EcoMedia（2005 年）。然而，轶事证据伴随着更大的野心。因为，与他早期的作品相比，这本书明确地围绕建立生态批评作为实验一种新的、开放式的方法论（第 37-8 页）；这种方法旨在“仔细挑选出现新环境的独特时刻，这里称为轶事”（第 12 页）。因此，Cubitt 提出的生态批评旨在推出一种“轶事方法”（第 7-10 页），这种遭遇证明了生态批评的政治美学比其他形式的生态批评更为激进。