Native Americans on Film
eBook - PDF

Native Americans on Film

Conversations, Teaching, and Theory

  1. 398 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Native Americans on Film

Conversations, Teaching, and Theory

About this book

The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression.

Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academics from a variety of disciplines. The resulting dialogue opens a myriad of possibilities for engaging students with ongoing debates: What is Indigenous film? Who is an Indigenous filmmaker? What are Native filmmakers saying about Indigenous film and their own work? This thought-provoking text offers theoretical approaches to understanding Native cinema, includes pedagogical strategies for teaching particular films, and validates the different voices, approaches, and worldviews that emerge across the movement.

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Yes, you can access Native Americans on Film by M. Elise Marubbio, Eric L. Buffalohead, M. Elise Marubbio,Eric L. Buffalohead in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Film History & Criticism. We have over one million books available in our catalogue for you to explore.

Table of contents

  1. Front Cover
  2. Title Page
  3. Copyright Page
  4. Contents
  5. Illustrations
  6. Introduction
  7. Section One
  8. Introduction to Section One
  9. Dimensions of Difference in Indigenous Film
  10. Reading Nanook's Smile
  11. Dismantling the Master's House
  12. Indigenous (Re)memory and Resistance
  13. Section Two
  14. Introduction to Section Two
  15. Native Resistance to Hollywood's Persistence of Vision
  16. Geographies of Identity and Belonging in Sherman Alexie's The Business of Fancydancing
  17. Teaching Native American Filmmakers
  18. "The Native's Point of View" as Seen through the Native's (and Non-Native's) Points of View
  19. The Dirt Roads of Consciousness
  20. Section Three
  21. Introduction to Section Three
  22. "Pockets Full of Stories"
  23. Wrestling the Greased Pig
  24. An Upstream Journey
  25. Video as Community Ally and Dakota Sense of Place
  26. The Journey's Discovery
  27. Acknowledgments
  28. Selected Filmography
  29. Contributors
  30. Index