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Elenora Haspel
The set designers at the studio looked to cities like Venice and Amsterdam for inspiration. The water canals and the buildings that surround cities have immense detail and thought put into them. Due to the COVID-19 pandemic during which most of the production took place, the production team of the film was unable to travel to these cities for research, so they spent many hours watching point-of-view city tours on YouTube to get inspiration for Element City.[42] To feel less like an alien version of real-world cities, production designer Don Shank and his team brainstormed the evolution of elemental beings and their civilization.[43]
Jordan Mintzer from The Hollywood Reporter stated, "[It] may be the first work from Pixar to feel like it was generated entirely by AI".[118] Eileen Jones from Jacobin called the film "so boring and unmemorable that it seems like a new low for the famed animation company."[119] Screen Daily's Tim Grierson noted that the film "contains hints of the studio's wit and poignancy while lacking the inspired execution that once seemed so effortless."[120] Dan Kois from Slate praised the visuals of Element City, but criticized the screenplay, the chemistry between its two main characters, and handling of different elemental groups within the film, comparing the conflict between Ember and her family unfavorably to Turning Red (2022). He stated that Pixar, known for its trademark humor, earned plot twists, and attention to detail, needed to overhaul its formula to regain its former success.[121] David Fear of Rolling Stone criticized the film's heavy-handed message, writing, "The fact that Elemental can't seem to get past its own elevator-pitch premise or avoid tripping over its teachable lessons, much less wring laughs and sobs from an opposites-attract love story, is a bit of a shock. It's so busy trying to pen an op-ed that it forgets to give it a narrative structure and make it emotionally resonate. That's just elementary."[122]
Decentering the human, the essays collected in Elemental Ecocriticism provide important correctives to the idea of the material world as mere resource. A renewed intimacy with the elemental holds the potential for a more dynamic environmental ethics and the possibility of a reinvigorated materialism.
The essays collected in Elemental Ecocriticism show how elemental materiality precipitates new engagements with the ecological. Here the classical elements reveal the vitality of supposedly inert substances (mud, water, earth, air), chemical processes (fire), and natural phenomena, as well as the promise in the abandoned and the unreal (ether, phlogiston, spontaneous generation).
Decentering the human, this volume provides important correctives to the idea of the material world as mere resource. Three response essays meditate on the connections of this collaborative project to the framing of modern-day ecological concerns. A renewed intimacy with the elemental holds the potential for a more dynamic environmental ethics and the possibility of a reinvigorated materialism.
This document presents a process to assess and control elemental impurities in the drug product using the principles of risk management as described in ICH Q9. This process provides a platform for developing a risk-based control strategy to limit elemental impurities in the drug product.
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