Burning the Future: Coal in America is a 2008 documentary film produced and directed by David Novack. The film focuses on the impacts of mountaintop mining in the Appalachians, where mountain ridges are scraped away by heavy machinery to access coal seams below, a process that is cheaper and faster than traditional mining methods but is damaging to the environment. Some environmental problems discussed in the film include disfigured mountain ranges, extinct plant and animal species, toxic groundwater, and increased flooding. The film's run time is 89 minutes.
The Executive Producer of the film is CJ Follini, Founder and CEO of the former Gun For Hire Production Studios.
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, 1h5 OriginFrance GenresDocumentary ThemesEnvironmental films, La mondialisation, Films about the labor movement, Documentary films about business, Documentary films about environmental issues, Documentary films about technology, Documentaire sur le monde du travail, Disaster films Rating75% Using interviews and overlays of graphics and text, the film presents the current problems facing industrial agriculture. It explores why in the interviewees' view the current industrial model is not up to the task of feeding the world's people. According to the film every calorie of energy contained in a food source currently takes between 10 and 20 calories of crude oil in the production of fertilizers and transportation to produce, leading to a strong dependence of the cost of food on oil prices. As a result of peak oil and increasing oil prices this dependence will lead to ever increasing food prices. According to the film, this dependence already represents a significant weak-spot in the global food supply chain. Additionally, agriculture is already responsible for 40% of greenhouse gas emissions, contributing to climate change. Furthermore, the film argues that the overuse of inorganic fertilizers has been responsible for the loss of soil fertility and threatens the complete loss of usable soil within the next decades through soil erosion and sinking crop yields. These effects, according to the film, can only be partly mitigated by the increased use of those same fertilizers. The loss of workplaces, the concentration of land in the hands of a few (allegedly a farm closes every 23 minutes in France) as well as the dependence on large corporations are enumerated as side effects of the industrialisation of agriculture since the 1920s. Companies, such as Monsanto and Bayer, control everything from seed stock to fertilizers and the necessary chemical mixes for hybrid plants, thereby controlling the entire supply chain. The film argues that this development was supported through subsidies from the World Bank. Interviews with Vandana Shiva, the founder of the Transition Towns movement Rob Hopkins and various agricultural experts serve to argue this viewpoint. The dependence on crude oil is illustrated through the example of the wholesale food market in Rungis.
, 55minutes OriginUSA GenresDocumentary ThemesEnvironmental films, Transport films, Films about automobiles, Rail transport films, Documentary films about business, Documentary films about environmental issues, Documentary films about technology, Road movies Rating78% Taken for a Ride begins with interviews on the inefficiencies and congestion on Los Angeles' highways. Next, the film displays a variety of archival footage on streetcar systems around the United States, demonstrating that streetcars were a widespread and efficient means of transportation. The film continues into a description of the General Motors streetcar conspiracy, starting with a history of National City Lines and Pacific City Lines and General Motors' investment in both companies. The film builds the argument that streetcar systems purchased by these companies were deliberately sabotaged through service reductions and fare increases, then replaced with profitable, less convenient, bus systems. Next, the film makes a connection between this conspiracy and the construction of the Interstate Highway System and the suburbanization of America in the face of the Highway revolts in the 1960s and 1970s. The film ends with footage of the reduction of Philadelphia's trolleybus system at the time of filming.