Abstract
ABSTRACT Singer-songwriter Jack Johnson is known for his laid back, inoffensive and seemingly uncontroversial music; however (perhaps paradoxically), he is also known for his environmental activism and accountability measures, measures that may seem at odds with his relaxed personality and musical output. In the 2016 short documentary film The Smog of the Sea, Johnson partakes as a citizen scientist in an expedition to the Sargasso Sea. Here he comes to the realization that the ocean is no longer this pristine wilderness; instead, the effects of human action (in the form of plastic) can be seen everywhere. In this short film, we see the coming together of Johnson’s laid-back aesthetic with a keen and urgent message to effect positive environmental change, amounting to what some commentators have referred to as a kind of ‘quiet activism.’ In this paper we critically explore the role and value of quiet activism in contradistinction to other modes typically associated with ecomedia, especially the trope of the apocalypse. We argue that the hope associated with such quiet activism may be an effective approach to environmental politics in the epoch of the anthropocene.
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