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This article explores Sous La Seine (2024) as an ecohorror film that reconfigures the shark horror genre through satirical critique and intertextual engagement with Jaws (1975). Set against the Paris 2024 Olympics and featuring a preternaturally oversized Mako shark, the film juxtaposes nationalist spectacle with ecological collapse, foregrounding human complicity in environmental destruction. Drawing on theories of the Anthropocene and posthumanism, it examines how Sous La Seine subverts the ‘killer shark’ trope to interrogate capitalist, political and media-driven narratives. In doing so, the film illustrates how genre can expose the violence underpinning capitalist and environmental exploitation.
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https://doi.org/10.1386/host_00100_1 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.