TY - JOUR AU - Golež Kaučič, Marjetka PY - 2018/10/19 Y2 - 2024/03/29 TI - The Dog in Film: From Reality to Fiction JF - Traditiones JA - Traditiones VL - 47 IS - 2 SE - INTERDISCIPLINARNI SPLET HUMANISTIČNIH RAZISKAV / AN INTERDISCIPLINARY MISCELLANEA OF HUMANIST RESEARCH DO - 10.3986/Traditio2018470207 UR - https://ojs.zrc-sazu.si/traditiones/article/view/7177 SP - 117-130 AB - <p><span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">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 (<em>Balto</em>, 2012 [1925] in <em>Kužni psi</em>, 1982). Oba tematizirata resničnost, a se ločita po vsebini, žanru in sporočilu, ki ga nosita v zgodbi ter posredujeta filmski javnosti.</span></p><p><span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">***</span></p><p><span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;"><span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">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 (<em>Balto</em>, 2012 [1925] and <em>The Plague Dogs</em>, 1982). Both thematize reality but differ in content, genre, and the message they convey.</span></span></p> ER -