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The Animal Logic of Contemporary Greek Cinema
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The Animal Logic of Contemporary Greek Cinema
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Journal Article
The Animal Logic of Contemporary Greek Cinema
2017
Overview
The Lobster in no way resists or refuses \"objectification or anthropomorphisation of the animal\"-we are explicitly told that Bob the dog is our protagonist David's brother and should be read as such.2 Animals consistently signify insofar as they are former humans.[...]just as the incestuous and violent family in Dogtooth is legible to many critics as a metaphor for Greece's oppressive polis, reading The Lobster allegorically subordinates its onscreen animals to a human narrative in which they can only signify their own cultural exploitation.3 It is not a film like Le Quattro Volte/ Four Times (Michelangelo Frammartino, IT/DE/CH, 2010), which attempts to animate non-human points of view and subjective experiences, nor is it even like social media cat videos that bring feline life worlds into our quotidian screen experience.There is no equitable relation in this world, either between species or among humans, and both animals and humans embody the violent stakes of this social horizon.[...]although the films depict non-human animals participating in human-centered narratives, they also pose questions about the status of the animal in cinema.'\"24 For Lippit, the animal is not just any metaphor but an originary one.[...]he writes, \"The animal brings to language something that is not part of language and remains within language as a foreign presence.[...]these human-nonhuman hybrids resonate with Baker's work on \"botched taxidermy\" in the sculptures of Angela Singer, or even with Wolfe's analysis of genetically manipulated animals and their transformation into transgenic art.32 In each of these cases, form enables a displacement of humanist ways ofthinking and seeing.
