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What man has to do in order to transcend the animal, to transcend the mechanical within himself, and what his unique spirituality leads to, is often anguish. And so, by comparison and despite the model of the machine, the animal seems to enjoy a kind of innocence. The animal has been emptied of experience and secrets, and this new invented 'innocence' begins to provoke in man a kind of nostalgia. For the first time, animals are placed in a receding past. (21-22)
This reduction of the animal, then, plays into what images and memories we associated with this captive wildlife. West Edmonton Mall uses this to their advantage by advertising material on their website promoting visits to the 'Sea Lion's Rock' and interactive camps, calling them "experience[s] of a lifetime" (West Edmonton Mall, 2010). By effectively manipulating the gaze and using it as a type of marketing tactic, mall executives are essentially teaching children that having dominion over animals, forcing them to live and behave in unnatural habitats, as well as performing in grotesque and atypical manners to obtain food, is completely healthy and acceptable. Altogether, the gaze is ubiquitous and permeates all facets of animal interaction, whether 'educational', as a spectator, or as a simple passerby. Ultimately, "tourists and [the animals] face each other, look at each other, hear each other, smell each other, or touch each other in these ‘close encounters of empire’, and are all part of the power relations by which forms of gender and [species] inequality are brought into being along with national boundaries of belonging and exclusion" (Sheller, 2004, 1). In other words, the way people (tourists and Edmonton locals alike) subject the mall's captive animals to their gaze is a direct reflection of self-interest, and the desire of every person for his own individual happiness. The focus placed on materialism within the confines of the mall turns the tourist gaze into a materialistic one, commodifying wildlife, transforming wildlife into products to be consumed, both visually and monetarily.
References
Arnold, Mark and Kristy E. Reynolds. 2003. Hedonic shopping motivations. Journal of Retailing. 79 (2003): 77-95.
Berger, John. Why Look at Animals? (Penguin Great Ideas). London: Penguin Books Ltd, 2009.
Cartwright, Lisa, and Marita Sturken. Practices of Looking: An Introduction to Visual Culture. 2 ed. New York: Oxford University Press, USA, 2007.
Castricano, Jodey. "Monsters: The Case of Marineland." In Animal Subjects: An Ethical Reader in a Posthuman World (CS). Waterloo: Wilfrid Laurier University Press, 2008. 195-223.
The Edmonton Journal, "Alberta's greatest animal stories," October 5, 2008. http://www.canada.com/edmontonjournal/news/sundayreader/story.html?id=04826ace-c5ab-4472-9e28-3ab8f8eb8835 (accessed April 9, 2010).
Hannigan, John. 1998. Fantacity city: pleasure and profit in the postmodern metropolis. New York NY: Routledge.
"Marine Life Education." West Edmonton Mall. http://www.wem.ca/#/play/home/Marine-Life-Education (accessed April 9, 2010).
Marvin, Garry, and Robert Mullan. Zoo Culture. 2nd ed. Urbana: University of Illinois Press, 1999.
Sheller, Mimi. "Returning the Tourist Gaze: Caribbean Gender and Racial Encounters." Paper presented at the annual meeting of the American Sociological Association (2004): 1-22.
"West Edmonton Mall: Triple Five." Triple FiveWorldwide. http://www.triplefive.com/en/pages/wem (accessed April 10, 2010).