Professional Documents
Culture Documents
2007
Dear Lucy
(....)
On another issue, Yar Habnegnal, our favourite self-professed ‘neo-con performance
artist and agent provocateur’, sent me this short critique of the recent animated
film, Happy Feet (2006). Extrapolating on your use of the term ‘animalities’, he
calls the piece ‘Faunaphiliac Animatalities’, referring to ‘the human affinity for
“animated-animal” icons’. I must admit that I am a bit disappointed that his
analysis doesn’t extend to the complex worlds of interactive online games that
many of us periodically inhabit, or to the more rewarding creation of cognition-
based parallel-life personae. Mainstream animation is limited by a narrative
univalence that reduces ontological questions to spectacle hermeneutics, and we
now require a coherent ontological articulation that addresses these avataric
‘universes-in-universes’. I know Yar has a lot to say on this subject from our
recent conversations at his home in Lahore, and I look forward to his promised
theorisation of these at a later time. Habnegnal’s post-Marxist analysis of
base/superstructure is useful in the analysis of animal predation and predation
avoidance behaviours in mainstream animation and in animated avatar games, such as
Second Life. At any rate, here is his short piece of writing, in the hope it has
some relevance to your topic of ‘animalities’.
Yours Truly,
LGB
Habnegnal writes:
… Faunaphilia in mainstream Hollywood animation obviously goes back at least to
early Disney and Ub Iwerks of the 1920s, and subsequently Warner Brothers’ Looney
Tunes, but the recent animated film Happy Feet, by the Australian company Animal
Logic and Australian director George Miliotis Miller (author and director of the
Mad Max series and Babe, which starred a talking pig) breaks some interesting new
ground.
But we must assume that the sudden appearance of homo sapien at a penguin colony
also augurs the end of their ‘wildness’ and inaugurates a new period of human
domination. When the electronic tracking device on Mumble’s back is detected by
the other penguins, one of the elder penguins accurately assesses the coming
subjugation of the colony: ‘You led them here? You turned them on your own kind?’
Survival trumps self-determination—a position faced by many of the world’s
endangered species which have been ‘colonised’ and placed in reserves or zoos.
Writing here in Lahore, a global nexus where First-World desire for self-
determination collides with Third-World pacification, my interest in this film
takes the form of a two-fold inquiry into the manner that we use representations
(such as animation) to interpellate other humans and animals cultures. In the case
of the animals depicted in our cartoons, we do this by conferring (human)
subjectivity upon them—in effect nailing them to the very cross of identitarian
interpellation upon which we find ourselves crucified daily. It is through our
submission to this process of representing identity that our
subjugation/subjection/subjectification is accomplished, and it is through
animation, film, art and literature that this same condition is so effectively
imposed upon other species.
When watching Happy Feet, I found myself musing that a year after accepting Christ
as their personal saviour, the Emperor penguins have now discovered that they got
soul (or two souls to be precise: ‘Soul’ in the sense of black soul music, and
anima). Did one epiphany lead to the other? A close reading reveals that beneath
the saccharine personifications afflicting the Emperor penguin (aptenodytes
forsteri) in this cartoon are three significant cultural issues: first, the manner
in which (homo sapien) subjectivity is conferred upon another species; second, the
economics of that conferment; and third, the use of music (rhythm) as the medium
of conference.
But this template runs into an interesting paradox at its extremity. In one
revealing scene, the fish are revealed as totalised commodities when Mumble fights
off a group of petrels and skua for the remains of a small fish that he then
presents as a gift to his loved one, Gloria. For those of us who have already been
conditioned to the subjectification of fish by Finding Nemo, it is difficult to
now accept a hierarchy in which fish are treated as dead gifts and bird feed.
Rather than simply swallowing the death of the fish as the demise of an anonymous
cartoon trope, the audience may be inclined to see this ingestion of a member of
a previously subjectified species as an assassination.
BIOS
With a chequered past reputed to include roles as student radical, CIA agent,
white supremacist-queer performance artist, and most recently, insurgency expert
advising the current administration of George W. Bush, Yar Habnegnal’s critical
writings appropriately focus on the semiotics of power in popular culture. He
currently resides in Lahore, Pakistan and Singapore.
LGB (Lan Gen Bah) holds a Chinese passport but lives in Cambridge, Massachusetts
and researches cognitive temporality, extreme emotive states, ideological and
sexual interpellation.