This article introduces Intermedial Ecocriticism, a methodological framework that integrates ecocritical and intermedial theory to analyse representations of the climate–ecological crisis across diverse media types. Through a comparative study of Cormac McCarthy’s novel The Road, its film adaptation by John Hillcoat, and Philippe Squarzoni’s graphic novel Saison Brune, the article explores how narrative endings mediate climate hope. Drawing on Elleström’s intermedial model and concepts such as affordances and media transformation, the analysis reveals how each media product constructs hope differently – through lyrical codas, cinematic closure, and verbo-visual reflexivity. The study argues that hope, while precarious, is essential for ecological agency and that its mediation is shaped by the specific affordances of each medium. Ultimately, the article demonstrates how intermedial ecocriticism enables nuanced cross-media comparisons and contributes to understanding the communicative potential of ecomedia in times of ecological urgency.

This chapter aims to review the contemporary theorizations that surround nostalgia and the current Anthropocene conditions. Nostalgia is primarily conceptualized as a critical tool that not only allows a deeper understanding of the resistance to acknowledge the dangers of the climate crisis but also presents ways to counteract it. The first section of this chapter discusses the relation of nostalgia to the “pastoral” mode of environmental representation and the general capacity of nostalgia to facilitate ecological agency. The second section of this chapter is dedicated to the discussion of “petro-nostalgia”. Through the reference to different works of art, the section sets out to examine various mediations of nostalgia for preceding auto cultures, nature lost to oil dependence, and pre-capitalist times of “innocence”. In the third section, other nostalgia-related emotional registers concerned with environmental loss are addressed. In particular, “green trauma”, “solastalgia”, “eco-nostalgia”, “geotrauma”, “planetary melancholy”, and “socioecological melancholy” help to capture the intricate emotional attachments that one might have to the landscapes disappearing due to climate change and extinction of species. The fourth section briefly touches upon the role of the aesthetics of nostalgia in mediating the experience of living in the age of the Anthropocene. At last, the final section introduces the definition of Anthropocene nostalgia, bringing to the fore its political potential to affect the status quo.

This article takes as its starting point the realization that existing food regimes and the food systems that enable them are the main drivers of climate change. This, the article notes, is a systemic challenge, but also a profoundly cultural issue as the way that people eat is deeply connected to questions of identity and belonging. The article enters this field of inquiry by studying how the awareness that current food systems are unsustainable is being mediatized and narrated in popular fiction and film. This media often depicts humans in worlds where the current food system has collapsed, forcing also people in the Global North to move or otherwise adapt to a changing climate, and, in the process, to profoundly alter the way they eat. The article discusses two visual texts: Bong Joon-ho’s Snowpiercer (2013), and John Hillcoat’s The Road (2009). The analysis of these texts shows that they employ food, eating and migration to make life in a future transformed by climate change comprehensible to the reader. The article also investigates how the fiction studied connects food and eating to the existing world-system and thus to the material history that is driving the climate crisis.

This study intends to do an ecocritical reading of several of Hawthorne’s relatively less-known works and focus on how nature frames or guides the story, acting as a powerful element in his stories. Hawthorne’s less-studied short story Sights from A Steeple is the starting point of this study, exploring how it mainly describes a scenery where natural forces act together as an overwhelming power. The elements of water, including the climatic clouds and rain, affect the story's direction, with both the overarching plot and the sub-plots predestined by the forces of nature. Similarly, this notion is hinted at by Hawthorne’s other two short stories analyzed in this essay, The Gentle Boy and The May-pole of Merry Mount, where the water elements of nature also set the events and the noble destinies of the main characters. However, a subverted direction is given in the final short story to be investigated, Dr. Heidegger’s Experiment, where the seemingly magical water fuels humans’ greed down to the path of destruction. By discovering how the element of water is presented in Nathanial Hawthorne’s short stories as a natural, powerful climatic force, this study contributes to revealing climate awareness in the canons of English literature.