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Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens

Murphy, Robinson

Journal of film and video, 2024-12, Vol.75 (4), p.32-44 [Periódico revisado por pares]

Englewood: University Film and Video Association

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  • Título:
    Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens
  • Autor: Murphy, Robinson
  • Assuntos: Children ; Children & youth ; Critics ; Decolonization ; Ecocriticism ; Kinship ; LGBTQ people ; Masculinity ; Motion pictures
  • É parte de: Journal of film and video, 2024-12, Vol.75 (4), p.32-44
  • Descrição: Making use of recent developments in critical race studies—namely, Jayna Brown's Black Utopias (2021) and Tiffany Lethabo King's The Black Shoals (2019)—as well as a consideration of Beasts as an Afrofuturist text, I additionally argue that the film speeds a decolonial politics. Debates about Beasts The shared title of Christina Sharpe and Jayna Brown's short blog essays, “ Beasts of the Southern Wild—The Romance of Precarity,” is but one marker of how roundly the film has been charged with romanticizing Hushpuppy (Quvenzhané Wallis) and her kin. 2 For bell hooks, Wink (Dwight Henry) is negligent, drunken, and abusive and foists on his daughter Hushpuppy a code of toxic masculinity she has no choice but to adopt for herself. 3 One might point, for instance, to a scene toward the start of the film when Wink rings the dinner bell announcing that it is “feed-up time.” Importantly, this is the final scene in which Wink appears—this is the end point of his character arc. 4 Equally important, it is Hushpuppy who lights the torch of his funeral send-off, setting his body symbolically aflame and pushing away the repurposed truck bed on which it burns, out into the water. 5 So when hooks argues that “it is patriarchal masculinity that rules, that makes the decision” in the film, one is inclined to wonder if she has accounted for the so-called patriarch's death. 6 In a manner that functions as something of a mantra, a Hushpuppy voice-over in the final scene of Beasts relays, “I'm a little piece of a big, big universe, and that makes things right.” Against hooks's charge that the film endorses toxic, individualized masculinity, Hushpuppy learns to embrace an other-oriented disposition that could serve the environment and enable human survival, even in the face of the anthropogenic forces that encroach on the Bathtub. hooks's additional claim that the rest of the film's children are educated into masculine individualization similarly invites further consideration.
  • Editor: Englewood: University Film and Video Association
  • Idioma: Inglês
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