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DISCLOSURE STATEMENT
No potential conflict of interest was reported by the author(s).
Notes
1 For a highly illuminating post-factum consideration of Mardi Gras in light of advanced globalization and the afterlives of unregulated consumption, see Redmon Citation2015. For a more wide-reaching, panoptic investigation of video and/as sensuous ethnographic inquiry, see Redmon Citation2019.
2 Indeed, the link between the films was made explicit and manifest by the 10th edition of the Copenhagen International Documentary Festival (CPH:DOX), as critic Dennis Lim (Citation2012) explains: ‘A double bill of Lucien Castaing-Taylor and Véréna Paravel’s immersive, convulsive Leviathan, shot entirely aboard (and off the side of) a fishing trawler two hundred miles off the Massachusetts coast, and David Redmon and Ashley Sabin’s Kingdom of Animal, a one-take tour of a Maine fish factory, was followed by a dinner of fish soup (by all accounts delicious).’ In e-mail correspondence, Redmon expands that the Danish festival ‘screened [Kingdom] inside a former fish factory.’
3 ‘The process genre,’ as Skvirsky elaborates, ‘is characterized by the special way it organizes the representation of processes. The represented processes are typically, though not always, processes of production, and crucially, they are represented as having a sequentially ordered series of steps with a clearly identifiable beginning, middle, and end.’ (Citation2020, 2) While Redmon and Sabin’s film conforms to this model in certain ways (it depicts the maritime production process in a progression of discrete steps), its chronology is altogether more non-linear and opaque, engendering temporal chaos rather than any illusion of A-to-B development.
4 The allusion here is, of course, to Donna Haraway's (Citation2016) eponymous study.