Dogs and Eco-Trauma: The Making of a Monster in White God Part I

After adopting several rescue dogs, all of whom suffered abuse and neglect, it comes as no surprise to us that both human and nonhuman animals may suffer the consequences of eco-trauma. As part of human society, dogs may also be traumatized by a toxic environment. As cultural critic David R. Shumway asserts, “pets … ought to be understood as elements of a healthy human society” (272). According to Shumway, “if humans have typically lived in a mixed community with animals, then our definition of ‘society’ should be expanded to reflect the fact that not all of the subjects to whom we relate are human” (272). As noted ecocritic Anil Narine suggests, “a traumatized earth begets traumatized people” (13), but a traumatized earth may also negatively affect other species. 

Films highlighting dogfighting reveal much about the complex connections between humans and their dogs. In this presentation, we argue that by exposing the abuse dogs endure during cruel training for and violent assaults in the dogfight ring, the fictional film White God(2015) powerfully demonstrates the repercussions of mistreatment in a toxic environment: eco-trauma. But it also offers a solution: love.

White God suggests a traumatized earth may also traumatize the pets we love, especially in an urban setting. The opening of White Godhighlights the consequences of such environmental trauma. A long shot reveals a starkly empty silent Budapest street where thirteen-year-old Lili (Zsófia Psotta) rides her bike across a deserted bridge. The music is quiet as she passes an abandoned car and bus, suggesting a forced escape for their passengers. Cutting to a city street as she continues to bike, an enormous pack of dogs runs up behind and past her, as if responding to the trumpet in her backpack. This opening scene ends with a flashback to Lili playing with her dog Hagen to underpin the dramatic change trauma has produced in this once happy house pet.

When her mother leaves for three months to Australia, Lili and Hagen’s lives are disrupted when they are forced to move in with Lili’s meat inspector father Daniel (Sándor Zsótér), who lives in a small and insular apartment building. In this traumatic ecology, a neighbor (Erika Bodnár) reports illegal mixed breed ownership to authorities, claiming Hagen bit her. Canine officers warn Lili and her father they must pay a heavy state tax and register the mixed breed or lose him. Forced to sleep in a closed bathroom, Hagen howls. Only Lili’s trumpet can calm him. When Lili sneaks Hagen into her band rehearsal and disturbs the practice, her director throws them out. In retaliation, Lili’s father casts Hagen out of their car in the middle of a crowded avenue and drives off. His actions catalyze the series of traumatic experiences that nearly condemn Hagen to death. 

Ultimately, White God illustrates the similarities between humans and dogs. Both species respond positively to love, and negatively to cruelty. In White God,the hope is that love may counter the environmental trauma humanity creates.