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Research Article

A World Under Water: Rethinking the Levee in Beasts of the Southern Wild

Pages 323-343 | Published online: 09 Aug 2022
 

Notes

1 McKittrick, Demonic Grounds, 58.

2 Sharpe, “The Romance of Precarity I.”

3 Mirzoeff, “Becoming Wild.”

4 Miller, Storming the Wall.

5 Ibid., 32.

6 Mason, “Climate Refugees.” Climate security is a concept that positions climate-induced changes as threat-multipliers that need to be met by amplifying existing security protocols.

7 Hage, “Etat de Siege,” 45.

8 Agamben, Homo Sacer, 6.

9 Agamben, State of Exception.

10 Hage, Racism an Environmental Threat?, 65.

11 Ibid., 66.

12 Rifkin, “Indigenizing Agamben,” 82.

13 Hage, Racism an Environmental Threat?, 65.

14 Nyong’o, “Little Monsters,” 265; Lloyd, Corporeal Legacies, 193; Maclear, “Something So Broken,” 613; and Barnsley, “The Postcolonial Child,” 245.

15 Halberstam, Wild Things, 4.

16 McClintock, “Imperial Ghosting.”

17 Nixon, Slow Violence, 150.

18 Agamben, Homo Sacer, 6.

19 Kaplan, “Manifest Domesticity.”

20 Anderson, Imagined Communities, 95.

21 Nixon, Slow Violence, 150.

22 Ibid.

23 Ibid., 151.

24 Ibid.

25 Ibid.

26 Ibid.

27 Ibid., 152.

28 Ibid., 153.

29 Ibid., 150.

30 Yaeger, “Beasts of the Southern Wild.”

31 Agamben, Homo Sacer, 1.

32 Ibid.

33 Arendt, The Human Condition, 64.

34 Agamben, Homo Sacer, 19.

35 Ibid.

36 Ibid., 7.

37 Ibid., 1.

38 Bignall and Svirsky, “Introduction: Agamben and Colonialism,” 6.

39 Weheliye, Habeas Viscus.

40 Bignall and Svirsky, “Introduction: Agamben and Colonialism,” 6.

41 Nyong’o, “Little Monsters,” 256.

42 Butler, Precarious Life.

43 Among others: Nyong’o, “Little Monsters” 163–164; Lloyd, Corporeal Legacies, 182–183; Barnsley, “The Postcolonial Child,” 242; Knox-Russell, “Futurity without Optimism,” 227; and Maclear, “Something So Broken,” 616.

44 Cf. hooks, “No Love;” Sharpe, “The Romance of Precarity I,” and Brown, “The Romance of Precarity II.”

45 Burke, “Beasts of the Southern Wild,” 66.

46 Among others: hooks, “No Love;” Nyong’o, “Little Monsters;” Lloyd, Corporeal Legacies; Barnsley, “The Postcolonial Child;” and Maclear, “Something So Broken.”

47 Maclear, “Something So Broken,” 619.

48 Ibid., 618.

49 Ibid.

50 Sharpe, In the Wake, 102.

51 hooks, “No Love.”

52 Sharpe, “The Romance of Precarity I.”

53 Brown, “The Romance of Precarity II.”

54 Lloyd, Corporeal Legacies, 173.

55 Sharpe, In the Wake, 102.

56 Among others: Nyong’o, “Little Monsters,” 263–264; Lloyd, Corporeal Legacies, 182–183; and Burke, “Beasts of the Southern Wild.”

57 Llyod, “The Fabric of the Universe,” 182.

58 Nyong’o, “Little Monsters,” 264.

59 Burke, “Beasts of the Southern Wild,” 76.

60 Ibid., 81.

61 Ibid., 71.

62 McClintock, “Imperial Ghosting,” 827.

63 Nixon, Slow Violence, 151.

64 Cited in Hartnell, “Writing the Liquid City,” 943; Brox, “The Monster of Representation,” 150.

65 Clark, “Feral Ecologies,” 163.

66 Cunningham, qtd. in Grichting, “Introduction: Social Ecologies,” 5.

67 Resendiz and Klaver, “Colonialism and Imperialism,” 30.

68 Among others: Resendiz and Klaver, “Colonialism and Imperialism;” Sundberg, “The State of Exception.”

69 Kaplan, “Manifest Domesticity,” 581.

70 Agamben, Homo Sacer, 123.

71 Bignall and Svirsky, “Introduction: Agamben and Colonialism,” 9.

72 Hage, “Etat de Siege,” 39.

73 Barnsley, “The Postcolonial Child,” 249.

74 Kaplan, “Manifest Domesticity,” 582.

75 Ibid., 582.

76 Hage, Racism an Environmental Threat?, 92.

77 Beason, “Wonderful Racist of Oz.”

78 Glenn, “Settler Colonialism as Structure,” 57.

79 Ibid., 69.

80 Mellor, “Lure of the Wilderness,” 104.

81 Ibid., 943.

82 Hartnell, “Writing the Liquid City,” 942.

83 Rifkin, “Indigenizing Agamben,” 79.

84 Ibid., 83.

85 Halberstam, Wild Things, 64.

86 Ibid., 4.

87 See James, “Ecomelancholia.” James discusses the ways in which Blackness has been inscribed as wildness, unpacking ‘the wild’ as a space in which extreme violence has been exercised against African Americans.

88 Weston, Animate Planet, 5.

89 Ibid., 4.

90 Ibid.

91 Peters and Steinberg, “Wet Ontologies,” 248.

92 Chen, McLeod, and Neimanis, “Thinking with Water,” 5.

93 Samuels, “Membranism,” 156.

94 Peters and Steinberg, “Wet Ontologies.”

95 Mason and Khawlie, “Fluid Sovereignty,” 1349.

96 Deggan, “Cinematic Ecocriticism.”

97 Chen, McLeod, and Neimanis, “Thinking with Water,” 6.

98 Ibid., 5.

99 Peters and Steinberg, “Wet Ontologies,” 253.

100 Roorda, ed., The Ocean Reader, 1.

101 Bashford, “Terraqueous Histories,” 261.

102 Neimanis, “Feminist Subjectivities, Watered,” 32.

103 Weston, Animate Planet, 33.

104 Mason and Khwalie, “Fluid Sovereignty,” 1347.

105 Halberstam, Wild Things, 142.

106 Ibid., 145.

107 Seymour, “Queerness of Environmental Affect,” 240.

108 Neimanis, Bodies of Water, 18.

109 Maclear, “Something So Broken,” 622.

110 Weston, Animate Planet, 16.

111 Rosi Braidotti understands the body through ‘cartographic method’ approaching a politics of location, qtd. in Neimanis, “Feminist Subjectivities, Watered,” 24. The account resonates with various critiques of the film that insist that Hushpuppy’s Blackness is not incidental, but rather maps the film’s racial politics.

112 Halberstam, Wild Things, 131.

113 Ibid., 8.

114 Lo Presti, “Terraqueous Necropolitics,” 1355.

115 Ibid., 1360.

116 Chen, “Mapping Waters,” 274.

117 Ibid., 279.

118 Khanna, The Visceral Logics, 10.

119 Ibid., 30.

120 Halberstam, Wild Things, 5.

121 Berlant, Cruel Optimism, 97.

122 Ibid., 96.

123 Brox, “The Monster of Representation,” 151.

124 White, Climate Change and Migration, 27.

125 Neimanis, Bodies of Water, 9.

Additional information

Notes on contributors

Jenny Stümer

Jenny Stümer is a research coordinator at the Käte Hamburger Centre for Apocalyptic and Post-apocalyptic Studies at Heidelberg University and an Honorary Academic at the University of Auckland. Her research explores the fortification of border walls in the contexts of Berlin, Palestine, Mexico, and contemporary Europe, examining political practices of exclusion as well as possible subversions of these dynamics through cinema and art practices. Email: [email protected]

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