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The corpus of my project is defined by the following three criteria. First, they disrupt the categorization that distinguishes non-fiction from avant-garde traditions, and suggest that these styles are much closer related than their separation into two genres usually allows for. Second, the films use sensuous and haptic imagery in order to (non)represent the various layers of a relatively new sub-category of trauma theory called “eco-trauma”. Third, they reflect on the entangled relationship between human existence and nature. Given that the films, central to this project have distinctive styles compared to conventional documentaries, I find it useful to evoke Scott MacDonald’s approach of “eco cinema”, which he applies to works that are similar to the films in my corpus. I plan to investigate works that do not necessarily or not only reveal ecological concerns on the content level, but expose different aspects of these matters by using alternative ways of film processing techniques as well as employing a non-human point of view Research questions From a theoretical point of view, how can we approach eco-trauma? Why is it problematic talking about representation with regards to (eco)trauma? Why does the use of haptic visual strategies seem to be a convenient tool with which to non-represent trauma and to stimulate a diffractive way of thinking? And how can haptic images capture the experience of (eco-)trauma? Why can the perception of haptic images be similar to the perception of the traumatic experience? (Borbála Máté)