Postcolonial Fears and Post-Apocalyptic Imagery in Kipo and the Age of Wonderbeasts
Fantasies of (post-)apocalypse are both a product and a producer of the Anthropocene, reproducing the concerns and fears that populate our unconscious imaginary, while providing us with unrealistic and inefficient solutions to currentcrises. Nevertheless, apocalyptic films canpromptus to yearn for s...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:dnet:idus________::d0578a755db723d53a84b2fc73757b74 |
| Acceso en línea: | https://hdl.handle.net/11441/185308 http://dx.doi.org/10.12795/REN.2025.i29.9 |
| Access Level: | acceso abierto |
| Palabra clave: | affect animation Anthropocene colonialism hybridity relationality afecto animación Antropoceno colonialismo hibridez relacionalidad |
| Sumario: | Fantasies of (post-)apocalypse are both a product and a producer of the Anthropocene, reproducing the concerns and fears that populate our unconscious imaginary, while providing us with unrealistic and inefficient solutions to currentcrises. Nevertheless, apocalyptic films canpromptus to yearn for something different, conceivingthe disaster not as an ending, but as the beginning of a new world. The aim of this paper is to examine theseries Kipo and the Age of Wonderbeastsfrom a postcolonial perspective claiming its initial premise reflects current western fears of reverse invasion and colonization. Through the inversion of human/animal hierarchies, this series interrogatesthe legacies of colonialism within our Anthropocene present. However, unlike other post-apocalyptic narratives, Kipo addresses these fears through restorative frameworksof hybridization and more-than-human relationality to create a post-anthropocentric society that embraces change and becoming as their core values. |
|---|