Browse Exhibits (20 total)

This exhibit explores the relationship between animals and capitalism, with a focus on the contemporary filmmakers' deliberate decisions to incorporate animals as central elements to illustrate the harsh implications of man-made systems on all living beings.

In fictional media’s confrontation of what we deem to be “monsters”, there is a clear delineation of male and female roles. These values are found quite clearly in the classic monster movie “Godzilla”, while more recent short stories begin the process of moving away from them. Kim Bo-Young’s “Last of the Wolves” begins the change of a female lead’s role, while questioning our idea of monstrosity. Ken Liu’s “Good Hunting” drives the subversion of gender roles forward, further exploring what a “monster” can be. This exhibit explores the female connection to love, as well as the capability of a woman to have her own character within a “monster” themed story and what that “monster” truly is.

Throughout this semester in Animals Crossing, we have encountered myriad examples of nonhuman life and their representations in East Asian literature and media. From engaging with this media, three animating questions have emerged: What are the politics of recognition? Who gets recognized and who is rendered invisible? How are these problematics complicated, and culturally read, within depictions of human-nonhuman relations? 

In this exhibition, which engages written and visual East Asian media, we explore nine pieces and identify these themes of mis/recognizing the nonhuman other vis-a-vis human civilization. We explore how nonhuman life is placed under human subjectivity; the normative understandings and assumptions underlying human engagement with nonhuman life; and how these relations – whether they are symbiotic, hegemonic, commodifying, or extractive – comment about nonhuman autonomy in varying landscapes. More importantly, this collection of texts, films, and visual art will illuminate different modes of being, strategies for navigating dissimilarities, and perspectives on recognition as a site of power. 

In Animal Crossing this semester, we explored themes of transformation, identity, and the relationship between humans, animals, and nature through a multifaceted and multimedia lens. This course allowed me to draw connections between the plasmatic qualities of animated and textual narratives and their broader implications on societal perceptions of femininity and agency.

One significant takeaway was understanding how characters like Yan in Good Hunting embody the intersection of human and animal forms to navigate survival and self-determination. By analyzing the Hulijing’s transformation, I examined how a woman’s ability to adapt mirrors both empowerment and vulnerability in patriarchal and colonized societies. Animated works we reviewed such as Princess Iron Fan and Pom Poko, similarly use fluid, shifting forms to comment on survival amidst societal or environmental pressures.

The creative component of this project is a product of how this course pushed me to engage more deeply with the story's themes. Through drawing Yan’s various forms, I gained an appreciation for the nuanced details that represent her inner struggle and resilience. For example, capturing her human vulnerability and mechanical rigidity highlighted the tension between freedom and societal constraints. Overall, this class upheld and emphasized the importance of recognizing ties to animals as a means to critique and reimagine identity, agency, and the female experience.

Colonialism, imperialism, and national identity are deeply intertwined themes explored in Nakajima Atsushi's Tiger Hunt, Lao She's Cat Country, Good Hunting and The Host. Each of these works critiques the effects of foreign domination on colonized nations, highlighting the exploitation of nations like China, Korea, and Japan. Through the allegorical use of animals, cats, foxes, tigers, or monsters these narratives uncover the underpinnings of imperial power. Not only does each work portray external exploitation; they all delve into the profound societal and cultural decay fostered by colonial rule. Nakajima's tigers and Lao She's cats embody the struggle of nations grappling with internal corruption and external pressures, while Yan from Good Hunting and the monster from The Host reveal the environmental and cultural devastation wrought by imperial control. Under the facade of order lies the true nature of imperialism-fractured societies, commodified traditions, and an enduring legacy of exploitation. At their core, these works challenge the audience to recognize the "true monsters" of colonialism and imperialism: the foreign powers and internal failings that create division, environmental harm, and cultural decline. Through their rich narratives and symbolic depth, these works underscore the need to address the impacts of exploitation and restore cultural identity.