Sobre la cacería como una expresión del temor a la alteridad:

In the video for the song Nasty by electronic band The Prodigy, the fox hunting theme we discussed with Dizzee Rascal video reappears (7.20). However, the act of hunting no longer happens from the the hunted’s point of view of but from the hunter’s. Consequently, its stage is one of the greatest repositories of the modern ego, the suburbs. (0.28).

The video depicts a black and white world with an ominous orange-reddish sky in which a red fox prowls through a suburb until it reaches a house on the outskirts of the city. After sneaking in through the gate of the house, the fox goes to the back entrance where, behind a glass door, a girl watches television with her father. Surprised by the presence of the animal, the girl come closer to play with the fox, but just before she can open the patio door the father notices what is happening and takes the girl away. The man, unsettled by the presence of the other, puts on a red coat and a hunting hat and goes out on horseback with his neighbors to hunt down the intruder who has penetrated the suburbs. Shotgun in hand, the men shoot at the fox that flees through streets and alleys until it gets cornered in a dead end. Just as the lead hunter aims to kill it, the fox faces him and with shining eyes mesmerizes him and his companions. We see the hypnotized hunters walking behind the fox that leads them into the forest that surrounds the suburbs. Once in the threshold between the forest and the city, the natural place of the other (7.4), the fox proceeds to turn the hunters, now completely enchanted, into other foxes, thus revealing that the enormous fear of the ego towards the other—that impels him to hunt and murder—is the fear of losing itself and finding that its identity is a facade that disguises his unconscious homogeneity with the uncanny (unheimlich) represented by the wild animal (0.24).

This video seems to point to an inversion of the poem “A Doe at Evening” by D.H. Lawrence (0.22), in which the look of the animal does not contribute to the human becoming aware of himself, but to fully identify with the animal, with the other. This transformation reveals a crucial issue: the hunt is always the stalking of the other who must be annihilated so that nothing exists that is not-me; nothing outside the fortified limits of the domus. Total and uncompromising dominance. The Prodigy’s Nasty and Westworld (6.17), present us with the same threshold from opposite sides: the first where there is only alterity and the second where only the self is possible.