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Ivory tiles, white womanhood, and white supremacy in Jean-Marc Vallée’s Sharp Objects

Bibliographic Data

ID21720381
AuthorsEmily Sanders (0009-0009-1450-9143, Queen's University, corresponding author)
Year2023
Volume27
Issue1
Pages98-114
Publication date2023-02-01
Open AccessYes
TypeARTICLE
VenueFilm-Philosophy (JOURNAL)
Journal identifiersISSN: 1466-4615 • E-ISSN: 1466-4615
PublisherEdinburgh University Press (PUBLISHER • GB)
DOI10.3366/film.2023.0219
OpenAlexW4315644218
LanguageEN
Citations received2
References cited15

Jean-Marc Vallée’s HBO miniseries, Sharp Objects (2018), follows Camille Preaker (Amy Adams) as she returns to her childhood home in Wind Gap, Missouri, to investigate the murders of two young girls. This article explores a specific type of object related to the systems of violence that reveal themselves over the course of the miniseries: ivory tiles. Here, the ivory tiles affixed to the floor of Camille’s mother’s, Adora Crellin’s (Patricia Clarkson), master bedroom both reveal and influence sinister behaviours of the household’s women. In employing concepts inspired from Thing Theory and Object-Oriented Ontology, as well as critical theory, this article examines how the ivory tiles possess multilayered excesses that constitute an object’s thingness. The foremost excess that informs the ivory tiles’ thingness, I contend, is its relationship to white supremacy. It is not only the tiles’ material history that informs its relationship to white supremacy, but how, through outlining the forms of agency things possess under Thing Theory, the tiles are able to reveal the forms of violence that are structured within the domestic sphere of the Crellin home. A product of violence, the ivory tiles as things speak back to the design of white supremacy

Art · Art history · Linguistics · Racism · Social science · Sociology · White supremacy · Art, Politics, and Modernism · Gender Studies · Geographies of human-animal interactions · Philosophy · Visual Culture and Art Theory

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Citations per year1
Citation span2024 - 2025 (2)
Highly citedNo

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