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dc.contributor.authorNovero, Cecilia
dc.contributor.editorLawrence, Michael
dc.contributor.editorMcMahon, Laura
dc.date.available2017-05-11T21:41:34Z
dc.date.copyright2015-12
dc.identifier.citationNovero, C. (2015). Bear Images: Human Performativity and Animal Touch in Grizzly Man. In M. Lawrence & L. McMahon (Eds.), Animal Life and the Moving Image (Vol. 14, pp. 238–253). Palsgrave BFI.en
dc.identifier.isbn9781844579006
dc.identifier.urihttp://hdl.handle.net/10523/7315
dc.descriptionAnimal Life and the Moving Image is the first collection of essays to offer a sustained focus on the relations between screen cultures and non-human animals. The volume brings together some of the most important and influential writers working on the non-human animal's significance for cultures and theories of the moving image. It offers innovative analyses of the representation of animals across a wide range of documentary, fiction, mainstream and avant-garde practices, from early cinema to contemporary user-generated media. Individual chapters consider King Kong, The Birds, The Misfits, The Cove, Grizzly Man and Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm Le Grice, Peter Greenaway, Carolee Schneemann and Isabella Rossellini, and YouTube stars Christian the lion and Maru the cat.en_NZ
dc.description.abstractIn Grizzly Man (2005) Werner Herzog edits and presents footage shot by Timothy Dexter while in the company of grizzly bears. As the film states, Grizzly Man centres on the human story that unfolds in Treadwell’s videos, especially in the context of the fact that he was killed by one of his beloved animals. The bears are of interest to Herzog only insofar as they symbolise an inscrutable and indifferent nature – i.e. those aspects of nature that in Herzog’s view Treadwell misconstrued finally leading to his demise. Against this explicit framing of the bears by Herzog, this essay argues that Grizzly Man opens up a visual space for these animals in which they come to touch not only Treadwell, but also this film’s spectators. Faced with the excessive performances Treadwell enacts for his own cameras, the spectator of Grizzly Man is left wondering about the authenticity or ‘naturalness’ of the human, and is compelled to ask about the gaze humans cast on animals in general, and most specifically on the bears that share the cinematic frame with Treadwell.en_NZ
dc.language.isoenen_NZ
dc.publisherPalsgrave BFIen_NZ
dc.relation.ispartofAnimal Life and the Moving Imageen_NZ
dc.relation.urihttps://he.palgrave.com/page/detail/Animal-Life-and-the-Moving-Image/?K=9781844579006en_NZ
dc.titleBear Images: Human Performativity and Animal Touch in Grizzly Manen_NZ
dc.typeChapter in Book
dc.date.updated2017-05-11T02:59:36Z
otago.schoolLanguages and Culturesen_NZ
otago.relation.volume14en_NZ
otago.bitstream.endpage253en_NZ
otago.bitstream.startpage238en_NZ
otago.openaccessAbstract Onlyen_NZ
dc.rights.statementEditors and Authorsen_NZ
dc.description.refereedPeer Revieweden_NZ
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