Screening the Nonhuman

Amber E. George is program coordinator for the Intergroup Dialogue Project at Cornell University.J.L. Schatz is instructor at Binghamton University.

• Introduction: Critical Media Studies and Critical Animal Studies at the Crossroads, Amber George and J.L. SchatzPart IChapter One: The Brown Wizard’s Unexpected Politics: Speciesist Fiction and the Ethics of The Hobbit, J.L. SchatzChapter Two: The Passing Faerie and the Transforming Raven: Animalized Compulsory Re-covery, Endurance, and Dis/ability in Maleficent, Jennifer PolishChapter Three: Jabbering Jaws: Reimagining Representations of Sharks Post-Jaws, Matthew LerbergChapter Four: Horseplay: Beastly Cinematic Performances in Steven Spielberg’s War Horse, Stella HockenhullChapter Five: Would Bugs Bunny Have Diabetes?: The Realistic Consequences of Cartoons for Non/Human Animals, Amber E. GeorgePart IIChapter Six: I Am Legend (2007), U.S. Imperialism, and the Liminal Animality of “The Last Man, Carter SolesChapter Seven: Ape Anxiety: Intelligence, Human Supremacy, and Rise and Dawn of the Planet of the Apes, Sean ParsonChapter Eight: The Vicious Cycle of Disnification and Audience De

Our fellow animals have had rough treatment on film—like many of our fellow humans. But they cannot organize and protest like we can. The book you have before you gives us tools and evidence to make the case on their behalf. Freedom from harm is a basic animal right, and that applies to issues of representation as well as physical treatment. Their cause must be our cause.