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Abstract
This article maps the relationship between moving images and the documentation of human and environmental changes through the case of the Grenfell Mission of Newfoundland and Labrador. The Labrador Institute’s collection of never-released film footage of the Grenfell Mission constitutes a distinct media environment that opens up ways of thinking about environmental historiography as a practice that incorporates “media-specificity” into its modes of operation and argumentation. This approach asks us to examine not only how images of the environment have been produced, circulated, and received over the course of time, but also how these environments were produced as distinct, medium-specific entities in their own right.Copyright for articles published in this journal is retained by the author(s), with Acadiensis being granted a non-exclusive licence to each and every right in the work throughout the world. After publication of the work, the author(s) shall have the right to self-archive the work and to reprint the work in whole or in part in books authored by or edited by the author(s) without the payment of any fee. In these other formats, however, the author or authors are required to acknowledge the original publication of the work in the pages of the journal. In the case of any requests to reprint the work, Acadiensis will require a standard permission fee -- to be divided equally between the journal and the author. In the event that such requests are received by the author(s), the author(s) shall direct such requests to the journal.