Nicholas Chare is Professor of Art History in the Department of Art History, Cinema and Audiovisual Studies at the Université de Montréal. He is the author of Sportswomen in Cinema: Film and the Frailty Myth (IB Tauris, 2015) and the co-author (with Dominic Williams) of Matters of Testimony: Interpreting the Scrolls of Auschwitz (Berghahn Books, 2016). He is also the co-editor (with Valérie Bienvenue) of the edited collection Animals, Plants and Afterimages: The Art and Science of Representing Extinction (Berghahn Books, 2022).

• List of FiguresAcknowledgementsIntroduction: Cruelty, Thy Name is Wolf!Chapter 1. Animal GenocideChapter 2. Material Witnesses: Thylacine Remains and Animal HistoriesChapter 3. Displaying the Thylacine: Exhibiting Genocide by Any Other NameChapter 4. The Compulsion to Repeat: Erle Wilson’s CoorinnaChapter 5. Coloured by Suffering: Capturing the Thylacine on FilmChapter 6. The Newfoundland WolfAfterword: Afterimages of the Genocidal GazeBibliographyIndex

“Animal Genocide and its Aftermath presents a thoughtful and engaging account of how the killing and the extinction of nonhuman animals can and should be thought of as genocide, thus bringing into play more complex sets of historical, political, and legal concepts and experiences.” • Rick De Vos, Curtin University“This book represents a brilliant piece of detailed, historical research which challenges and demands so much of the reader through destruction of the easy and comfortable acceptance of the human actions that result in animal extinction, together with an analysis of the different cultural representations of those actions that led to the genocide.” • Robert Paddle, Australian Catholic University

Nicholas Chare is Professor of Art History in the Department of Art History, Cinema and Audiovisual Studies at the Université de Montréal. He is the author of Sportswomen in Cinema: Film and the Frailty Myth (IB Tauris, 2015) and the co-author (with Dominic Williams) of Matters of Testimony: Interpreting the Scrolls of Auschwitz (Berghahn Books, 2016). He is also the co-editor (with Valérie Bienvenue) of the edited collection Animals, Plants and Afterimages: The Art and Science of Representing Extinction (Berghahn Books, 2022).

• List of FiguresAcknowledgementsIntroduction: Cruelty, Thy Name is Wolf!Chapter 1. Animal GenocideChapter 2. Material Witnesses: Thylacine Remains and Animal HistoriesChapter 3. Displaying the Thylacine: Exhibiting Genocide by Any Other NameChapter 4. The Compulsion to Repeat: Erle Wilson’s CoorinnaChapter 5. Coloured by Suffering: Capturing the Thylacine on FilmChapter 6. The Newfoundland WolfAfterword: Afterimages of the Genocidal GazeBibliographyIndex

“Animal Genocide and its Aftermath presents a thoughtful and engaging account of how the killing and the extinction of nonhuman animals can and should be thought of as genocide, thus bringing into play more complex sets of historical, political, and legal concepts and experiences.” • Rick De Vos, Curtin University“This book represents a brilliant piece of detailed, historical research which challenges and demands so much of the reader through destruction of the easy and comfortable acceptance of the human actions that result in animal extinction, together with an analysis of the different cultural representations of those actions that led to the genocide.” • Robert Paddle, Australian Catholic University

Nicholas Chare is Professor of Art History in the Department of Art History, Cinema and Audiovisual Studies at the Université de Montréal. He is the author of Sportswomen in Cinema: Film and the Frailty Myth (IB Tauris, 2015) and the co-author (with Dominic Williams) of Matters of Testimony: Interpreting the Scrolls of Auschwitz (Berghahn Books, 2016). He is also the co-editor (with Valérie Bienvenue) of the edited collection Animals, Plants and Afterimages: The Art and Science of Representing Extinction (Berghahn Books, 2022).

• List of FiguresAcknowledgementsIntroduction: Cruelty, Thy Name is Wolf!Chapter 1. Animal GenocideChapter 2. Material Witnesses: Thylacine Remains and Animal HistoriesChapter 3. Displaying the Thylacine: Exhibiting Genocide by Any Other NameChapter 4. The Compulsion to Repeat: Erle Wilson’s CoorinnaChapter 5. Coloured by Suffering: Capturing the Thylacine on FilmChapter 6. The Newfoundland WolfAfterword: Afterimages of the Genocidal GazeBibliographyIndex

“Animal Genocide and its Aftermath presents a thoughtful and engaging account of how the killing and the extinction of nonhuman animals can and should be thought of as genocide, thus bringing into play more complex sets of historical, political, and legal concepts and experiences.” • Rick De Vos, Curtin University“This book represents a brilliant piece of detailed, historical research which challenges and demands so much of the reader through destruction of the easy and comfortable acceptance of the human actions that result in animal extinction, together with an analysis of the different cultural representations of those actions that led to the genocide.” • Robert Paddle, Australian Catholic University