Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Smoke Signals is a historical milestone in Native American filmmaking. Released in 1998 and based on a short-story collection by Sherman Alexie, it was the first wide-release feature film written, directed, coproduced, and acted by Native Americans. The most popular Native American film of all time, Smoke Signals is also an innovative work of cinematic storytelling that demands sustained critical attention in its own right. Embedded in Smoke Signals's universal story of familial loss and renewal are uniquely Indigenous perspectives about political sovereignty, Hollywood's long history of misrepresentation, and the rise of Indigenous cinema across the twentieth and twenty-first centuries. Joanna Hearne's work foregrounds the voices of the filmmakers and performers--in interviews with Alexie and director Chris Eyre, among others--to explore the film's audiovisual and narrative strategies for speaking to multiple audiences. In particular, Hearne examines the filmmakers' appropriation of mainstream American popular culture forms to tell a Native story. Focusing in turn on the production and reception of the film and issues of performance, authenticity, social justice, and environmental history within the film's text and context, this in-depth introduction and analysis expands our understanding and deepens our enjoyment of a Native cinema landmark. "--

SOCIAL SCIENCE / Ethnic Studies / Native American Studies. --- PERFORMING ARTS / Film & Video / History & Criticism. --- Indigenous films --- Indians in motion pictures. --- Motion pictures --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures --- Smoke signals (Motion picture)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples.Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.

Western films --- Indigenous films --- Indians in motion pictures. --- Westerns --- Motion pictures --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This is the first book that comprehensively examines Indigenous filmmaking in North America, as it analyzes in detail a variety of representative films by Canadian and US-American Indigenous filmmakers: two films that contextualize the oral tradition, three short films, and four dramatic films. The book explores how members of colonized groups use the medium of film as a means for cultural and political expression and thus enter the dominant colonial film discourse and create an answering discourse. The theoretical framework is developed as an interdisciplinary approach, combining postcolonialism, Indigenous studies, and film studies. As Indigenous people are gradually taking control over the imagemaking process in the area of film and video, they cease being studied and described objects and become subjects who create self-controlled images of Indigenous cultures. The book explores the translatability of Indigenous oral tradition into film, touching upon the changes the cultural knowledge is subject to in this process, including statements of Indigenous filmmakers on this issue. It also asks whether or not there is a definite Indigenous film practice and whether filmmakers tend to dissociate their work from dominant classical filmmaking, adapt to it, or create new film forms and styles through converging classical film conventions and their conscious violation. This approach presupposes that Indigenous filmmakers are constantly in some state of reaction to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. The films analyzed are The Road Allowance People by Maria Campbell, Itam Hakim, Hopiit by Victor Masayesva, Talker by Lloyd Martell, Tenacity and Smoke Signals by Chris Eyre, Overweight With Crooked Teeth and Honey Moccasin by Shelley Niro, Big Bear by Gil Cardinal, and Atanarjuat: The Fast Runner by Zacharias Kunuk.

Indian motion pictures --- Ethnographic films --- Indians in the motion picture industry --- Indians in motion pictures. --- Indian mass media --- Indigenous peoples and mass media --- Mass media and indigenous peoples --- Mass media --- Indians of North America --- Mass media, Indian --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures --- Motion pictures --- Motion picture industry --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Motion pictures, Indian --- Mass media and Indigenous peoples

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Narration (Rhetoric) --- Knowledge, Theory of. --- Visual communication --- Wampum belts --- Iroquois philosophy. --- Iroquois Indians --- Iroquois art. --- Indians in motion pictures. --- American literature --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- Epistemology --- Theory of knowledge --- Philosophy --- Psychology --- Graphic communication --- Imaginal communication --- Pictorial communication --- Communication --- Belts, Wampum --- Indian beadwork --- Indians of North America --- Philosophy, Iroquois --- Philosophy, American --- Philosophy, Canadian --- Agoneaseah Indians --- Massawomeke Indians --- Mengwe Indians --- Iroquoian Indians --- Art, Iroquois --- Art, American --- Art, Canadian --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures --- Motion pictures --- Social life and customs. --- Intellectual life. --- Indian authors --- History and criticism. --- Clothing --- Art