By Joanna Hearne
ISBN-10: 080321927X
ISBN-13: 9780803219274
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Extra info for Smoke Signals: Native Cinema Rising
Sample text
Continental expansion as “unfinished business,” reminding audiences that treaty responsibilities, court cases, and government and tribal land negotiations are ongoing. The effect of any individual image is compounded because this “vanishing Indian” representational scenario so completely dominates the Western genre, which is largely lacking in any balancing depictions of contemporary Native people. The consequences of this lacuna are the manufactured absences of modern Indigeneity on screen, and the correlative of that absence, images of Indian decline or death.
9 That definition took form primarily through two Western-genre representational devices — stock Indian character types and the trope of the “vanishing Indian” — that cut across historical periods and across popular, political, and scientific discourses. Historically, the single most pervasive public fiction about Native Americans is that they are vanishing. This “vanishing” is not a single trope or image but rather a series of distinct types of discourse that are collectively informed by a tenacious narrative.
34 Some of the leaders and spokespeople of the American Indian Movement (aim) during its heyday in the late 1960s and early 1970s took up performing roles in Hollywood films decades later, including Russell Means (Lakota) (Last of the Mohicans, Natural Born Killers [dir. Stone, 1994], Pocahontas, Pathfinder [dir. Nispel, 2007]), Dennis Banks (Ojibwa) (Thunderheart, War Party [dir. Roddam, 1998]), and John Trudell (Powwow Highway [dir. Wacks, 1989], Thunderheart, On Deadly Ground [dir. Seagal, 1994]).
Smoke Signals: Native Cinema Rising by Joanna Hearne
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