The Dog in Film: From Reality to Fiction
DOI:
https://doi.org/10.3986/Traditio2018470207Keywords:
pes v filmu, dokumentarni film, animirani film, vivisekcija, antropomorfizacija, antropocentrizem, domestifikacija // the dog in film, documentary film, animated film, vivisection, anthropomorphisation, antropocentric view, domestificationAbstract
Članek na podlagi teoretskih diskurzov kritične animalistike, antropologije, filozofije in teorije speciesizma razpravlja o tem, kako filmska produkcija upodablja človekovo uporabo in zlorabo psa, kritično presoja udomačitev, ki je uporabo psa v filmskem svetu sploh omogočila, in antropomorfizacijo ne-človeških subjektivitet. Na podlagi fiktivnih filmskih slik reflektira vivisekcijo. Ugotovitve razprave temeljijo na analizi dveh filmov s pasjim protagonistom (Balto, 2012 [1925] in Kužni psi, 1982). Oba tematizirata resničnost, a se ločita po vsebini, žanru in sporočilu, ki ga nosita v zgodbi ter posredujeta filmski javnosti.
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The article examines, on the basis of theoretical discourses of critical animal studies anthropology, philosophy and theory of speciesism, how film production depicts human use and abuse of a dog. It offers a critical assessment of domestification that made the exploitation of a dog in film possible, and, in general, discusses the anthropomorphisation of non-human subjectivity, as well as reflects on vivisection through fictitious film images. The discussion is supported by the analysis of two films with a canine protagonist (Balto, 2012 [1925] and The Plague Dogs, 1982). Both thematize reality but differ in content, genre, and the message they convey.
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