On Animal Subjectivity in Contemporary US Cinema
Thesis title in Czech: | O zvířecí subjektivitě v současném americkém filmu |
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Thesis title in English: | On Animal Subjectivity in Contemporary US Cinema |
Key words: | zvířecí subjektivita|intersubjektivita|animalita|biopolitika|fenomenologie|více než lidský svět|vztahová subjektivita|zvířecí aktérství|zvířecí kapitál|Tenká červená linie|Tance s vlky|Okja |
English key words: | animal subjectivity|intersubjectivity|animality|biopolitics|phenomenology|more-than-human-world|relational subjectivity|animal agency|animal capital|The Thin Red Line|Dances with Wolves|Okja |
Academic year of topic announcement: | 2021/2022 |
Thesis type: | diploma thesis |
Thesis language: | angličtina |
Department: | Department of Anglophone Literatures and Cultures (21-UALK) |
Supervisor: | doc. Erik Sherman Roraback, D.Phil. |
Author: | hidden - assigned and confirmed by the Study Dept. |
Date of registration: | 17.03.2022 |
Date of assignment: | 17.03.2022 |
Administrator's approval: | not processed yet |
Confirmed by Study dept. on: | 23.03.2022 |
Date and time of defence: | 02.02.2023 00:00 |
Date of electronic submission: | 06.01.2023 |
Date of proceeded defence: | 02.02.2023 |
Submitted/finalized: | committed by student and finalized |
Opponents: | Mgr. David Vichnar, Ph.D. |
Guidelines |
Recently there has been a rise of philosophical and political inquiries into the newly emerging field of animality studies within the critical studies in literatures and cultures. Such prominent scholars as Giorgio Agamben, Jacques Derrida, Gilles Deleuze and Felix Guattari have posed a question on the very concept of «the animal» and essentially what it means to be human as the latter has traditionally been defined in opposition to the former in Western history. Man and animal relationship, as we now know it, is a result of a long historical development comprised of urbanism, industrialism and capitalism to name a few. Prior to that, in prehistoric societies, especially those reliant on hunting, the boundaries between humans and animals reflected more reverence and fluidity. From representing animals in ceramics and cave paintings to burying animal remains individually and with deceased humans, people were always interested in making sense of human/animal kinship. In the words of Agamben, «even the physical demarcation between man and the other species entailed zones of indifference in which it was not possible to assign certain identities». Western metaphysics put a stamp of «exclusion» on animal. The foundation of Enlightenment with its emphasis on logos and rationality has established a biopolitical and anthropocentric bias which justifies vivisection, breeding, lab experiments in the name of science, prosperity and human comfort. Animals have since been perceived as insensate things which need to be either ruled, dominated or saved and taken care of. Therefore, animals are denied subjectivity, labelled as passive agents not capable of independent action. This, according to Derrida, puts an animal outside of the logic of ethics allowing people, with clear conscience, to utilize animals as food and resource. In culture industry, animals are typically portrayed according to the stereotypes enhanced by the logic of exclusion. They are represented as either commodities, tokens, therapy pets or loyal companions. To be more precise, Steven Spielberg’s epic film War Horse (2011) is an emblematic example of seeing animal body, through the lenses of biopolitics and human domination, as simple technology, which is then replaced by more advanced technology like tanks. Not only is the animal body rendered as subservient to humans, this portrayal facilitates a constructed sentimentality in the relation to the trope of the good human master and a loyal animal friend. The sentimentalized body of the animal casts a veil over our critical understanding of human/non-human relationship making an actual animal a rather mediated representation far removed from its reality. As a result, this version of the animal establishes itself in the cultural imagination. On the other side of the spectrum, there is a different endeavor to rethink our cultural awareness towards animals and nature in its all-encompassing sense. The cinema of Terrence Malick is a prime example of the non-hierarchical approach of portraying ontological realities of non-human beings be it animals or plants at the same level as human ontological reality. Broadly speaking, Malick is interested in the interconnectedness of nature and humans, i.e in the potentiality of nature to provide multiple forms of engagement with humans. In Malick’s films nature acts as a framework for human conflict (the war in Thin Red Line (1998) and therefore reflects the inner state of humans as well as as an autonomous reality independent of human action. From simply looking at nature as a thing-in-itself to perceiving it as a phenomenon; from romanticizing it as paradise (The New World (2005) to gazing at it though the anthropocentric vision of Captain Smith (The New World), in his attempt to make sense of what nature is, Malick applies a manifold of perspectives or modes of engagement with nature. Applying Malick’s core aesthetics, both cinematic and thematic, Bong Joon-ho’s Okja (2017) and Viktor Kossakovsky’s Gunda (2020) are the two recent films that attempt to challenge our current constrained perception of animals as passive recipients of human will. I would argue even further that they manage to transcend the paradigm of the human master or the good master as it were. In Gunda, a farm pig is not a medium or a tool to make man better and make him realize something about himself or the world around him. Instead, Kossakovsky solely focuses on the animal subjectivity beyond man’s anthropocentric dominance and mutual dependency on one another. Gunda radicalizes a new kind of subjectivity that sees an animal as an independent subject. In Okja, a pig-like creature is a Derridean allegory that questions a technoscientific and utilitarian mode of engagement with animals, namely corporate greed, factory farming and breeding. This thesis, therefore, will attempt to pose an ontological question - what exactly constitutes the boundary between humans and animals? To do that, it will venture to reassess the historical and cultural production of such concepts as man and animal in order to challenge the current conceptual and ethical frameworks established in Western societies and perpetuated by neoliberal culture industry. Moreover, the thesis will situate the aforementioned films within the discourse on biopolitics and the philosophical tradition of the demarcation between human and animal to illuminate the broader thematic concerns about animal subjectivity, the human-nonhuman relationship, the logic of exclusion and animal exploitation. |
References |
Secondary literature: Abram, David. The Spell of the Sensuous: Perception and Language in a More-Than- Human World. Vintage Books Editions, 1996. Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Stanford University Press, 1998. Adamben, Giorgio. The Open: Man and Animal. Stanford University Press, 2004. Daston, Lorraine and Mitman, Gregg. Thinking with Animals: New Perspectives on Anthropomorphism. Columbia University Press, 2005. Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press, 1987. Derrida, Jacques. “Eating Well”, or the Calculation of the Subject: An interview with Jacques Derrida’. In E. Cadava, P. Connor and J-L Nancy (eds.), Who Comes After the Subject? New York and London: Routledge, 1991. Derrida, Jacques. The Animal That Therefore I Am. Stanford University Press, 2008. Foucault, Michel. The Birth of Biopolitics: Lectures at the Collège de France, 1978-1979 (Lectures at the College de France). Picador, 2010. Horkheimer, Max and Adorno, Theodor. Dialectic of Enlightenment (Cultural Memory in the Present). Stanford University Press, 2007. Nagel, Thomas. “What Is It Like to Be a Bat”, The Philosophical Review, Vol. 83, No. 4 (Oct., 1974), 435-450. JSTOR URL: Singer, Peter. Animal Liberation. Bodley Head, 2015. Shukin, Nicole. Animal Capital: Rendering Life in Biopolitical Times. University Of Minnesota Press, 2009. Weil, Karen. Thinking Animals: Why Animal Studies Now? Columbia University Press, 2012. Wolfe, Cary. Animal Rites: American Culture, the Discourse of Species, and Posthumanist Theory. University of Chicago Press, 2003. Films: War Horse. Dir. Steven Spielberg. Walt Disney Studios, 2011. Thin Red Line. Dir. Terrence Malick. Fox 2000 Pictures, 1998. The New World. Dir. Terrence Malick. First Foot Films, 2005. Okja. Dir. Bong Joon-ho. Plan B Entertainment, 2017. Gunda. Dir. Viktor Kossakovsky. Louverture Films, 2020. |