We have very few details of substance regarding the Coalition's recent move to take A$104.7 million from the Australia Council's budget and to set up the National Program for Excellence in the Arts.

What we do know is that the 28 major arts organizations are safe – but that independent artists and the small to medium sector will have to withstand massive changes.

Last week the Australia Council announced that its June funding round would not proceed and that its six year funding program for organisations had been suspended. The ArtStart, Creative Communities Partnerships Initiative and Artists in Residence programs have also been cut.

This series in environmental humanities offers approaches to medieval, early modern, and global pre-industrial cultures from interdisciplinary environmental perspectives. We invite submissions (both monographs and edited collections) in the fields of ecocriticism, specifically ecofeminism and new ecocritical analyses of under-represented literatures" queer ecologies" posthumanism" waste studies" environmental history" environmental archaeology" animal studies and zooarchaeology" landscape studies" 'blue humanities', and studies of environmental / natural disasters and change and their effects on pre-modern cultures.

Although Donna Haraway’s new book, Staying with the Trouble, is marketed as a monograph, it is really a collection of essays that many of us will have encountered in other contexts. ‘Sowing Worlds: A Seed Bag for Terraforming with Earth Others’, for instance, first appeared in Beyond the Cyborg: Adventures with Donna Haraway (2013) and has been in my Ecocriticism course reader ever since.1 Likewise, I cite ‘Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin’ from Environmental Humanities in one of my recent journal articles.2 Neither article has been rewritten for this book. Other sections are familiar to me as keynote lectures I have heard in the flesh or listened to online. I begin my review in this somewhat narcissistic way to illustrate my bias—I am very engaged with Haraway’s work—and also to foreshadow my reservations about the success of this volume with specific regard to the central provocation announced in its title, namely the question of ‘making kin’.

In the new millennium, humans are increasingly confronted by the dire consequences, both current and predicted, of a changing climate. As the environmental crisis deepens and uncertainty percolates, individual and collective engagement with discomfiting ecological thought is largely unavoidable. The seemingly insoluble quandary has fomented a range of clinically recognised psychological responses which congregate under the umbrella term of eco-anxiety. In this thesis, I investigate the human predisposition to confront and attempt to assuage contemporaneous fears through storytelling on screen. I direct my focus toward the medium of television and the manifestation of this proclivity in the internationally recognised genre of Scandinavian serialised television crime drama known as Nordic Noir. In observing the infiltration of ecological themes and supernatural, folkloric, and Gothic tropes into Nordic Noir productions over the last two decades, I identify the germination and global proliferation of a discrete and replicable sub-genre which, I argue, specifically reflects and responds to the psychological complexities inherent in eco-anxiety. I refer to this novel form of cultural expression as EcoNoir. In EcoNoir crime dramas, I observe that detectives are invariably drawn into cases of murder, missing children and nefarious eco-crimes; however, it is the ways in which these supernaturally charged local stories are told and how their global relevance affectively resonates with viewers, which is at the heart of this thesis.

The confluence of rationality and irrationality in the sub-genre of EcoNoir introduces a narrative ambiguity to the conventions of crime drama which disrupts the cathartic relief from tension that viewers traditionally expect of the form. EcoNoir, like its film noir progenitors, resists definitive resolution and thus, when conflated with environmental themes, authentically reflects the ambiguous nature of the climate crisis and the concomitant uncertainty that stalks the global zeitgeist.

The study reveals a correlation between ecological thought, eco-anxiety and the global human imaginary by tracing the transnational distribution and replication of this fusion of social realism, environmental crime fiction, noir and supernatural fabulation from the Arctic to the Antipodes. Replicating a distinct suite of tropes and conventions, disparately geolocated television creators and practitioners weave local ecological concerns with representations of their own folklore and mythologies to create glocalised productions that reflect the global nature of the climate crisis and respond to universally shared concerns. As producers and purveyors of long-form serialised television, digital streaming platforms facilitate the transmission of complex narratives from culturally specific locations to the wider world: stories that echo our commonalities and foster an appreciation that humans (and non-humans alike) are enmeshed in a shared existential dilemma.

I employ a methodology of close textual analysis and draw on theoretical and scholarly sources in psychology, philosophy, literary and screen studies, environmental humanities, folklore studies, peace studies and gender studies, to examine seven EcoNoir serial television productions as case studies of the sub-genre. These are the German series Dark (2017-2020), the Swedish Jordskott (2016-2017), the French Zone Blanche (Black Spot) (2017-2019), the British Fortitude (2015-2018), the Swedish and French co-production Midnattsol (Midnight Sun) (2016), the Colombian Frontera Verde (Green Frontier) (2019) and the AustralianThe Gloaming (2020-). The analyses will reveal the ways in which the sub-genre of EcoNoir, both cognitively and affectively, reflects the multifarious environmental crises currently unfolding around the planet and the diverse manifestations of eco-anxiety which these crises evoke – from the relatively benign melancholy of solastalgia to the extremes of violent psychosis, by way of narratives ranging from nihilistic defeatism through to tentative optimism and hope.