This paper examines the rhetoric and argumentation of two prominent environmental activists, Greta Thunberg and Chris Packham. From the perspective of Ecolinguistics, Thunberg has given voice to a generational movement for change, galvanising young people everywhere through high-profile protests and speeches. Packham represents British mainstream environmentalism, notably as the presenter of the acclaimed nature documentary ‘Springwatch’. We argue that their influence partially stems from their alignment with dominant cultural narratives: Thunberg’s emphasis on intergenerational discord and Packham’s connection to the natural world. We analyse both figures via the lens of the ‘emotionalisation of media discourse’, highlighting argumentation strategies that feature expressions of negative emotions of which anger is a type. Thunberg’s famous ‘How dare you?’ outburst at the 2019 UN Climate Action Summit and Packham’s statement to Novara Media, ‘I am more angry now than at any point since my 20s’, exemplify this trend. We explore the pragmatic implications of their argumentative and discursive strategies, suggesting that while both have significantly elevated the profile of ecological activism, their discourse may also have a potentially divisive aspect.

Review of Douglas Mark Ponton. 2024. Exploring Ecolinguistics: Ecological Principles and Narrative Practices. Bloomsbury Review of Douglas Mark Ponton. 2024. Exploring Ecolinguistics: Ecological Principles and Narrative Practices. Bloomsbury

Professor of French and Italian at the University of Minnesota, delves into Italian cinema during the Fascist era to examine the complex interplay of cinema as a powerful tool wielded by Mussolini's regime and the antifascist Resistance. The book offers a comprehensive exploration of Vittorio De Sica's pre-neorealist films within the context of Fascist Italy. Fabbri analyses how these filmsoften dismissed as mere escapismpossess a nuanced and subversive quality that challenged the dominant political and cultural narratives of the time. The book includes a preface and an introductory discourse on Fascism's representation across media. Subsequent chapters scrutinise various aspects including early depictions of race, Pirandello's and Ruttman's Acciaio, Blasetti's ecofascist realism, Camerini's perspective on escapism, Mediterranean imagery in cinema under the Fascist regime and the end of the Resistance and the birth of neorealism. The author examines representations of race in Italian film novelsa term used to denote narratives that intertwine with cinematic themes or are closely associated with the cinematic domain. These novels explore the multifaceted aspect of cinema, or use cinema as a metaphorical or narrative framework to explore broader themes. Gualtiero Fabbri's Al Cinematografo and Luigi Pirandello's Quaderni di Serafino Gubbio operatore exemplify early perceptions of cinema in liberal Italy as beyond mere art or entertainment, envisaging the medium as a potent political instrument capable of sculpting public opinion and national identity. These novels reflect and anticipate the complex interplay of cinema with Italy's socio-political and cultural dynamics, indicative of the Fascist era. Fabbri also examines De Sica's and Visconti's cinematic works, dissecting genre dynamics and queer antifascist themes, and investigates the development of neorealism post-Resistance. The book portrays cinema as a critical instrument in Fascist Italy, with creations like those depicted in White, Red, Blackshirt by Blasetti functioning as ideological conduits to weave Fascist ideology into societal fabric. The book considers how cinema of this era was tasked with the role of convincing Italians of their racial identity and securing their allegiance to Fascism. 'Cinema ought to inspire the