Unveiling the Other: Animals, Oppression, and Visual Culture through Nanook of the North

Abstract

This article critically examines early 20th-century exploration cinema, focusing onthe portrayal of nonhuman animals and indigenous peoples, using Nanook of theNorth (1922) as a representative example. The study highlights how these films,emerging during a period of intense Western exploration, established enduringvisual conventions that depicted nonhuman animals and indigenous humans ascultural Others. By moving beyond the aesthetic achievements of these films,such as Robert Flaherty's innovative use of long shots, the article brings attentionto the ethical concerns related to speciesism and anthropocentrism that haveoften been overlooked. It explores how the exploitation of nonhuman animalsboth on-screen and behind the scenes reflects broader speciesist powerdynamics, while also challenging the dichotomy between culture and nature asseen in indigenous hunting and gathering societies. The article argues for a reexaminationof these films through a multicultural and intersectional lens,bridging the gap between cinema studies and critical animal and media studies,and ultimately seeks to raise public awareness about the protection of animalrights by emphasizing the sentience and moral consideration due to nonhumananimals.