A Close Textual Analysis of 'A Perfect Planet'

From land-shaping, CO2 spewing, life-giving volcanoes and the light-bringing, nurturing, yet powerful plight of life in the sun’s glare, to the integral patterns and cycles of the weather that shape entire ecosystems; to the intricate and vital depths of our interconnected oceans; from cryogenic frogs to giant tortoises, to blood-sucking finches, to majestic elephants; then, finally, to us - humans; all are among the many remarkable creatures who, in a sense, ‘star’ in David Attenborough’s latest series, A Perfect Planet (BBC, 2021), a series which examines what made Earth so perfect for life. Each one of these elements and animals has its own role in the functioning of the world with this/these role/s being explored and beautifully illustrated throughout this nature documentary series. However, with all that said, the focus of this essay will be on the final episode of the series: Humans (Episode 5, A Perfect Planet). The episode itself almost acts as an epilogue to the series, taking the audience back through familiar settings, albeit now with a more reflective tone, and exposes the how human civilisation has been altering and deteriorating the functionality of the planet and all its ecosystems. Both exploring the problems we are facing and exacerbating, the episode also highlights a few more optimistic and constructive solutions that innovative and dedicated people have produced. How does the episode convey its message of climate change and the impact it is inflicting on us all? In what ways does it make a convincing argument for preserving the world? How does this television documentary use the spectacular to captivate an audience and emphasise the narrative it presents? How does the show, particularly the episode chosen, utilise different modes of documentary filmmaking in conveying and strengthening its narrative?

The sequence, from this episode, which I will be focussing on is the opening (from the opening episode title ‘Humans’ to how droughts in Kenya are leading to the many deaths of African Elephants).

From this one section alone, the episode shows a dynamism with its oscillation and careful weaving of some of the American film critic and theoretician Bill Nichols’ modes of documentary filmmaking. The series, up till this point, had utilised the expository mode of documentary filmmaking, often with a reflexive element at the end, showcasing how the show was made, and the trials and ordeals faced by the production crew and wildlife filmmakers in a sort of ‘behind-the-scenes' epilogue to each programme; this has become the staple of the David Attenborough nature documentary over the decades these series have been running. However, in this episode we the viewer, just after the title ‘Humans’, are introduced to David Attenborough himself, with accompanying archival past film footage of his adventures in the wild around the world. The episode becomes reflexive as Attenborough narrates how and reflects how the world has changed so dramatically since he was a young man. Undoubtedly, this moment of almost calm reflection upon his own life lulls the viewer into a false sense of peace before the implications of the narration soon sweep the conversation onto the pressing matter of how, or more why, the world has so drastically changed – human activity and thus climate change. The way that opening is able to create this juxtaposition of nostalgia, of history and the past with harsh reality of change to our natural world, we gain that relatable, personal connection with the presenter David Attenborough; so, as he reflects, the viewer is compelled to contemplate along with him. Furthermore, the power of this reflexive style of documentary is emphasised when the show transitions from archival footage to the present day as Attenborough stands before us, looking straight into the camera with solemn wisdom, and seamlessly continues his monologue. The reflexive part of the documentary moulds into participatory with Attenborough as the subject creating this direct intercourse with the viewer; akin to some kind of public service announcement, the comparative suddenness of seeing this punctuates the moment with an overt message to outline the episode and, in fact, the entire show; getting straight to the point, attacking the heart of the issue; using the television medium as a platform for broadcasting awareness of the enormity of the struggle we as a species face. Perhaps, it could be argued that this loses some subtlety but clarity in what is being communicated has impact of being able to reach virtually anyone who tunes in, even those ‘channel-hoppers’ who may not stick around for long. It acts as communique for all, grabbing the attention of as many as possible and spreading the message. In this, the pushing overtness of the broadcast is its strength.

From this point, the participatory side of documentary is advanced when the presenter, David Attenborough, introduces the viewer to certain ‘key speakers’ who will go on to further the message of the impact of climate change, inject further warning of it and relay information and statistics. These people consist of biologists to conservationists, etc. In introducing us to these interviewees, Attenborough refers to them as being, “from the front line,” immediately seeding the notion that climate is of war-like proportion, a conflict which we, as a species, must strive hard to succeed in combatting the climate crisis. These speakers reappear throughout the episode to hone in on certain topics and offer their expertise in the light of what we as viewers are experiencing through the natural photography, linking images with powerful statements and statistics. The lighting of these interviewees also plays a part in elevating their crucial input. With neutral lighting covering the busts of the experts, there lies a stark, dark almost pitch-black background; all this directs our attention solely onto the subject with nothing to distract the viewer; nothing but what the person is positing matters, lending insurmountable weight to their topic of climate change and our planet’s preservation. A cohesive interplay of participatory and expository, each emphasising the other, ensues and creates this symbiosis of the human being and the world around us. The subtle connection generated through this use of juxtaposing images and locations and subjects is a cornerstone of filmmaking; here it subtly links humanity with responsibility, onus over the world we all live on. Having exposed some of the more overt messaging of the episode earlier, this relationship between the image and the word stringing through the documentary completely and compellingly enriches the idea that words and communication and, ultimately, awareness will bolster the need and prompt for further, urgent action.

Now, I would be remise if I didn’t bring this episode in relation to Helen Wheatley’s 2011 article, Beautiful images in spectacular clarity: spectacular television, landscape programming and the question of (tele)visual pleasure. The narrative throughout the series, and most exemplified in this specific episode, is devoted to tackling and depicting the effects and future potential effects of global climate change with the denaturing of wildlife and the world. Bearing this in mind, as Wheatley mentions the two montages of spectacular television are ‘narrative montage’ and ‘spectacular montage’ she posits that most documentaries of this nature shift between the two. However, with A Perfect Planet, these two elements flow together to the point of inseparability. Narrative and spectacular all interweave together to generate such beauty, lending power to each other; again, the symbolism of the documentary uncovers and highlights the intrinsic links which bind us all together on this single planet. Perfectly exemplified by how the show proceeds to show us the devastating effects of drought on African Elephants, exploring an Elephant orphanage in glorious depiction with light of the sun providing almost heavenly lustre, coupled with both the heart-braking situation but also the optimistic rectification as keepers nurture the Elephants back to health. Wheatley also goes on to explore how natural/landscape shows rarely delve into any socio-political realms when depicting the scenery on-screen. Yet again, though, A Perfect Planet bucks that trend with its direct acknowledgement of the world’s politics and the gains certain countries are striving after from environmental or renewable energy programs. Considering, some context, as well, with this having been the latest series Attenborough has been involved with, as of this essay, the urgency of the situation with climate change and the narrative of the series as a whole is compounded. Knowing that David Attenborough has certainly delved into the human impact on our planet and the natural world before, notably with the impressive Blue Planet II (BBC, 2017), this series seems to double-down, as it were, on these problems we are all creating, facing, and attempting to reverse or fix.

Therefore – in all – this show represents a tidal shift in our society; emphasis being placed on our role, our stewardship of the planet and the wildlife that inhabits it almost acts as a rallying call to the viewer – a wake-up call to the troubles which climate change poses for us all, stirring the emotions and solidifying a sense of responsibility to act in whatever way they can to aid the reversal of this global crisis.

Bibliography:

Helen Wheatley (2011) Beautiful images in spectacular clarity: spectacular television, landscape programming and the question of (tele)visual pleasure

Available at: https://academic.oup.com/screen/article-abstract/52/2/233/1665937?redirectedFrom=fulltext&login=false (Accessed 01/03/22)

Karen Lury (2005), Image

Available at: https://content.talisaspire.com/bristol/bundles/61e6d8ee49e61b59993d12c4 (Accessed 01/03/22)

Filmography:

A Perfect Planet (2021). Produced by the British Broadcasting Company; Executive producer: Alastair Fothergill; Production company Silverback Films

Blue Planet II (2017). Produced by the British Broadcasting Company; Executive producers: James Honeyborne; Mark Brownlow; Production companies: BBC Natural History Unit; BBC Studios; The Open University; BBC America; WDR; France Télévisions; Tencent; CCTV-9