One of the films that gets a lengthy treatment in my book Ecologies of the Moving Image is Werner Herzog’s Grizzly Man, about the death of Timothy Treadwell at the hands of a brown bear in Alaska. I characterized it there as a complex and nuanced film that provides a series of somewhat contradictory — but cognitively and affectively compelling — approaches to the human-animal boundary.
What I neglected to examine in any depth was Herzog’s nod to the Alutiiq Native population to help make his own case about that boundary. I should have done that. A film about relations between humans and bears in a part of the world where such relations have existed for centuries requires delving into what Latour and Stengers would call their “cosmopolitics” — the ways in which they have been shaped and continue to affect divergent forms of “naturecultural” coexistence beyond the “modern constitution” of Euro-American modes of thought and practice.
Filmmaker (and UVM graduate student) Finn Yarbrough took up this issue in a short paper for the course I’ve just finished teaching. The paper ranges insightfully from the film’s queerish gender subtext to Alutiiq shamanism. I’m sharing that paper as a guest post below, with Finn’s permission. — A.I.