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

This article critically examines early 20th-century exploration cinema, focusing on
the portrayal of nonhuman animals and indigenous peoples, using Nanook of the
North (1922) as a representative example. The study highlights how these films,
emerging during a period of intense Western exploration, established enduring
visual conventions that depicted nonhuman animals and indigenous humans as
cultural Others. By moving beyond the aesthetic achievements of these films,
such as Robert Flaherty's innovative use of long shots, the article brings attention
to the ethical concerns related to speciesism and anthropocentrism that have
often been overlooked. It explores how the exploitation of nonhuman animals
both on-screen and behind the scenes reflects broader speciesist power
dynamics, while also challenging the dichotomy between culture and nature as
seen in indigenous hunting and gathering societies. The article argues for a reexamination
of 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 animal
rights by emphasizing the sentience and moral consideration due to nonhuman
animals.