Traits of American Indian Life and Character (Native American) Review

Depiction of Native Americans

The Hollywood Indian is a fictitious stock character, a stereotype, and representation of Native Americans used in television and films, peculiarly in the Western genre. The image of the Hollywood Indian reflects contemporary and historical Native American popular culture. Closely continued to myths and images created nigh Native Americans and the Wild West, the stereotype has undergone significant changes from the beginning of cinema to the present day.

The portrayal of Native Americans in flick has been criticized for perceived systemic problems since the inception of the industry for its use of stereotypes that range from violent barbarians to noble and peaceful savages.^[1] A multifariousness of images appeared from the early to mid 1930s, and by the late 1930s negative images briefly dominated Westerns. In 1950, the watershed film Broken Arrow appeared that many credit as the outset postwar Western to draw Native Americans sympathetically. Starting in the 1990s, Native American filmmakers take attempted to brand independent films that piece of work to correspond the depth and complication of indigenous peoples as people and provide a realistic account of their culture.^[one] Contemporary Native filmmakers have employed the utilize of visual sovereignty, defined by Seneca scholar Michelle H. Raheja as "a manner of reimagining Native-centered articulations of self-representation and autonomy that appoint the powerful ideologies of mass media," to take back the correct to tell their own stories.^[two]

Early years [edit]

Early films featuring Native characters varied in their depictions. Some of these characters were often shown wearing leather wear with feathers in their hair or with elaborate feather headdresses. Authors have argued that Native communities were oft depicted as cruel societies that sought out constant warfare and vengeance confronting white characters. But while some individual Native characters appeared every bit drunkards, cruel, or unintelligent, others were friends or allies to white settlers. These depictions nevertheless were often one-dimensional and perpetuated the idea that the only expert Native is one that helps white settlers.^{[1] [3]} A few successful Indian/white marriages did occur in film during these early years.^[4] Other depictions were generalized stereotypes and used largely for aesthetic purposes and many tribes were represented. Feather headdresses were culturally and historically correct for approximately 2 dozen Plains tribes, and those of the American southwest were often wearing traditional habiliment.^[v] This was done to create a more than recognizable character for white audiences to view as "indian". Many directors did not care well-nigh accuracy when it came to language either, with Native actors being asked to speak in their native language no affair what tribe they are supposed to be from in the movie. These discrepancies worked to create the Hollywood Indian stereotype prevalent inside the western genre.^{[vi] [seven]}

Beverly R. Vocaliser argues that "Despite the fact that a diversity of ethnic peoples had a legal and historical significance in the germination of every new country founded in the Western Hemisphere, in the United States and Canada the term 'Indians' became a hegemonic designation implying that they were all the same in regards to culture, behavior, language, and social organisation". Other scholars argued these films in fact showed a broad range of depictions of Native people from noble to sympathetic.^[8]

Afterwards films [edit]

The Revisionist Western, also known equally a Modern Western or an Anti-Western, is a subgenre of Western films that began effectually the mid 1960s and early on 1970s. This subgenre is characterized by a darker and more than cynical tone that was generally not present in earlier Western films.

Revisionist Westerns featuring Native characters [edit]

• Two Rode Together (1961)
• The Mortiferous Companions (1961)
• Bitter Current of air (1963)
• Hombre (1967)
• Tell Them Willie Boy is Here (1969)
• Soldier Bluish (1970)
• Little Big Man (1970)
• Chato's Land (1972)
• Jeremiah Johnson (1972)
• Buffalo Pecker and the Indians (1976)
• The Missouri Breaks (1976)
• Dances With Wolves (1990)
• Thunderheart (1992)
• Dead Human (1995)
• The Missing (2003)
• The Merely Good Indian (2009)

In the 1970s, Revisionist Westerns similar Lilliputian Big Man and Soldier Blueish often portrayed Native Americans every bit victims and white people equally the borderland's ambitious intruders.^[9] While the studio one-act Petty Big Man even so centers on a white protagonist, Dustin Hoffman, the Native Americans are depicted sympathetically while members of the United States Cavalry are depicted as villains. The Cheyenne in the motion picture are living harmoniously and peacefully at the offset of the film, and information technology's the encroachment of the violent white men who are the harmful, disruptive influence on their culture and landscape.^[ten] The film is also noted for including a Two-Spirit character also as showing Lt. Colonel George Armstrong Custer as a lunatic – a fool and a fop – whom the white protagonist betrays for the sake of his adopted Indian family.^[ten]

The 1980s saw the emergence of contained films with contemporary Native content such as Confab Highway, a route movie and buddy film where one protagonist, an angry young activist, namechecks the American Indian Movement while the other visits sacred sites to greet the dawn. Both are on their way to complimentary a friend from jail.^[eleven]

1990's Dances with Wolves, while hailed by mainstream audiences and providing jobs for many Lakota actors, has also been cited as a return to the White savior narrative in film.^[12] In the movie U.S. soldiers capture John Dunbar (Kevin Costner) and take him equally a prisoner. Native Americans race onto the scene and kill all of the U.Due south. soldiers while none of the Native Americans appear to take been killed. Some of them receive injuries, but they are portrayed as strong and immune to the pain. However, Dunbar then becomes part of the tribe and leads the Sioux confronting their rivals, the Pawnee, and later helps them escape the aforementioned army he once served. The final credits of the film propose that Sioux people are at present extinct, which a few criticized.^[13]

Native Filmmaker Chris Eyre wrote and directed the film Smoke Signals (1998) which has been selected for preservation in the National Picture show Registry for being "culturally, historically, or aesthetically significant". It is one of few films featuring Native American characters and directed past a Native filmmaker (forth with Edwin Carewe'southward early films) that received theatrical distribution.^[15] Fume Signals was written, directed, and acted in past Native Americans.^[15] Like Powwow Highway, information technology is also a road flick and buddy moving-picture show that examines friendship, fatherhood, and the roles of tradition versus modernity in Indian Country.^[sixteen]

In The Doe Boy (2001) a Cherokee male child is nicknamed Hunter, after accidently killing a female person deer instead of a buck during his first hunting trip. The disappointment of his male parent and the distance between them is compounded by the physical limitations placed on Hunter to avoid injury. Breaking away from his father and overprotective mother, he meets with a girlfriend and falls in honey with her, and drawing on the wisdom of his full-blood granddaddy, Hunter gradually discovers dear and a true sense of his possibilities. Later on on his begetter was accidently shot and killed by hunters. Hunter meets with the buck deer and decides not to impale the buck. ^[17]

In Buffalo Dreams (2005) Josh Townsend has to move again with his mother and father, astrophysics researcher Dr. Nick Townsend, to a New Mexico modest town. While working on the copy motorcar, Josh gets bored and decides to piece of work for the Native American family tribal buffalo reserve, working with Navajo clan elder John Blackhorse's contemptuous grandson Thomas and his buddy Moon. Kyle'south cyclist gang invites him for a bike ride which Josh joins their group, and he takes them to a cloak-and-dagger waterfall where they spray-paint graffiti in the scared site and litter the ground, Josh gets into trouble with John, and he apologizes to Johns family unit and challenges his rival Kyle to a mountain cycle race. During the race the buffalos escape and stampede towards town, and Josh and his friends get together up the buffalos to relieve their small-scale town from getting stampede.

The New World (2005) offers a largely fictionalized retelling of the relationship betwixt John Smith and Pocahontas. John Smith arrives to the Americas with the Pilgrims and is immediately captured by a Native American tribe. The motion picture did offer several myths about Pocahontas, changing her into an developed so the pic can be made into a love story. In reality, Pocahontas was a child of about x she met John Smith, and most scholars agree that some of the events in the flick ever took identify.^{[18] [xix]}

Native Americans in animation [edit]

• Pinocchio (1940): Pinocchio is a 1940 animated motion-picture show produced by Walt Disney. During the Pleasance Isle scene, characters assemble in Tobacco Route, and there are half dozen racist caricatures of Native American Chiefs wearing headdresses, smoking peace pipes, and throwing out gratis cigars to the crowd.
• Peter Pan (1953): Peter Pan is a 1953 blithe picture produced by Walt Disney. A major scene in Peter Pan involves the Darling children, Wendy, John and Michael Darling, the Lost Boys and Peter Pan celebrating at the Indian camp subsequently Peter rescues Tiger Lily, the daughter of the chief, from Captain Claw and Mr. Smee. This scene features the vocal, "What Makes the Cherry-red Man Red?" that features racist caricatures of Native Americans.^[20]
• An American Tail: Fievel Goes West (1991): Is an animated moving-picture show past Phil Nibbelink and Simon Wells with producer Steven Spielberg for Amblin Entertainment by Universal Studios. While Tiger is lost in the desert, he is ambushed by a Native American mice tribe who captures Tiger and mistakes him for a god. Afterward, Fievel gets caught by a hawk and the Native American mice shoot it down and Fievel falls downwardly and reunites with Tiger.
• Pocahontas (1995): Pocahontas is a 1995 Disney animated film. In this moving-picture show, John Smith, while on the a voyage to Jamestown encounters Pocahontas and the Powhatan tribe. Conflict between the European settlers and Native Americans ensues, as tension ramps up between the two groups over land. Before a battle between the ii groups begins, Pocahontas saves the life of John Smith and prevents the war. Though presented as historical, the story is highly fictionalized. Critics of Disney'southward Pocahontas say that it presents the idea that the only good native is ane that helps white people. It is argued that Pocahontas is portrayed as a princess for protecting John Smith while the other native people are presented as savages.^[3]
• An American Tail: The Treasure of Manhattan Island (1998): Is an blithe film Directed by Larry Latham by Universal Studios Home Video. Fievel and Tony discover that an ancient treasure lies underneath Manhattan in an abased Subway where they come across a Native American mice tribe chosen Lenape where they run across a girl mouse Cholena. The sachem mouse, Chief Wulisso, decides to ship his daughter Cholena, to the surface to see if they take "changed their ways.
• Brother Acquit (2003): Brother Bear is a 2003 animated pic produced by Disney that follows the story of an Inuit boy named Kenai every bit he pursues the bear that killed his older brother, Sitka. However, his vengeance confronting the bear angers the Spirits. As punishment, the Spirits transform Kenai into a bear. In order to be human again, Kenai must travel to a mountain where the Northern lights bear on the world.
• Animated fantasy series Avatar: The Last Airbender (2005-2008) features several Native American inspired cultures and characters.
• Molly of Denali (2019): Molly of Denali is an animated series following the adventures of Molly, a 10-yr-one-time Alaska Native, her friends Tooey and Trini, and her dog Suki. Molly of Denali is the offset nationally distributed children's to feature an Alaska Native every bit the chief graphic symbol and protagonist.^[21]

Whitewashing of Native American characters [edit]

Whitewashing in film refers to the historic phenomenon stemming from the early 1900s where white actors have been cast for roles not meant for them. Instead of hiring someone that fits the intended race/ethnicity of the character, a white person is traditionally given that function. This is not unique to one racial or minority group; from Black, to Asian, and to Native American, many marginalized groups in America take felt the effects of whitewashing in the film industry.^[22]

Whitewashing is 2-pronged in upshot, for not only does it impede Native American representation in film, but information technology as well forces them into stereotypical roles.^[23] The tropes of the savage Native American or the Native American at the mercy of white people have long been recycled for years. This allows Hollywood, a predominantly white manufacture from top to lesser, to continue to gatekeep access to coveted motion-picture show roles. In 2017, roughly 70% of the characters in the top Hollywood releases for that year were white.^[24] That year, roughly lx% of the Usa population was white, showing a disproportionate representation of white people in Hollywood.^[25] This besides reinforces many of the stereotypes many people possess regarding Native Americans, because at that place hasn't been a significant culture alter as yet regarding how Native Americans are portrayed in mainstream American media. Furthermore, white actors take never faced a shortage of roles available to them in Hollywood, while Native Americans and other marginalized groups continue to experience this.^[26]

Examples [edit]

In The Legend of Walks Far Adult female (1982), actress Raquel Welch played a Sioux warrior who killed her husband and was banished from her tribe. Welch played the role despite existence white herself.

In Outrageous Fortune (1987), white comedian George Carlin plays an Indian scout.

10-Men Origins: Wolverine (2009) Lynn Collins plays the (Blackfoot/Niitsítapi) character Silver Fox.

In The Last Airbender (2010), M. Nighttime Shyamalan accommodation of the blithe series Avatar: The Last Airbender several Asian and Native American characters were played by white actors.

While Johnny Depp'due south portrayal of Tonto in Disney's The Lone Ranger (2013) has been accepted in Comanche groups, critics argue that Depp engaged in "redface" and casting him over Native actors was a racist conclusion.^[1]

Pan (2015) cast Rooney Mara as Tiger Lily, the Native American princess from Peter Pan.

Documentaries [edit]

• Cleaved Rainbow (1985): Broken Rainbow details the forced relocation of the members of the Navajo tribe from Blackness Mesa, Arizona after the 1974 Navajo-Hopi Land Settlement Act.^[27] Many Navajo families were separated during this period of deportation in the U.S. authorities'due south attempt to better perceived issues between the Hopi and Navajo tribes.^[28] This documentary underscores several issues that indigenous communities across the United States face today; the growing desire to learn indigenous lands for capitalist ventures. At stake are mining rights, land boundaries, and extraction for uranium, gas, oil, and other raw materials. Directed by Victoria Mudd, it won the University Award for Best Documentary in 1986. The cast includes the vocalization narrations of Martin Sheen, Buffy Sainte-Marie, Burgess Meredith, and others.
• Imagining Indians (1992): Imagining Indians is a 1992 documentary film produced and directed by Native American filmmaker, Victor Masayesva Jr. (Hopi). The documentary attempts to reveal the misrepresentation of Ethnic culture and tradition in Classical Hollywood films through interviews with different Native actors and extras from diverse tribes throughout the United States.^[29] It stars Shirley Atene, Karmen Clifford, Marvin Clifford, and others. The cast is entirely Native American, pulling ethnic people from the Amazon, Montana, Arizona, and other places. It is considered one of Masayesva's more provocative pieces of movie theatre, every bit it delves into the complexities surrounding white perception of Native American culture and identity. The motion picture too touches upon the invasive nature of Hollywood in terms of filming on reservations. Director Masayesva said that The Night Current of air (1991) intruded on his village to flick when he was younger, and he felt the duty to share stories like these with the outside world.^[30]
• The Canary Outcome (2006): The Canary Outcome is an test of the effects of the Usa and its policies on Indigenous communities.^[31] Some of these policies include forced schooling of children exterior Native American communities, mass killings, forced female sterilisation, and more. Information technology was directed by Robin Davey, a British musician, and Yellow Thunder Woman, who hails from the Yankton Sioux and Rosebud Sioux reservations of S Dakota.^[32] Both of them are members of the LA pop group The Bounder Fairies. The film first premiered at the Tribeca Picture Festival in New York, and in 2006 it won the Stanley Kubrick Laurels at the Traverse City Picture show Festival in Michigan.^[33] The bandage includes Charles Abourezk and Ward Churchill, author, former professor, and one of the leaders of the American Indian Movement of Colorado since the 1980s.
• Reel Injun (2009): Reel Injun is a 2009 Canadian documentary film directed by Cree filmmaker Neil Diamond, Catherine Bainbridge, and Jeremiah Hayes that explores the portrayal of Native Americans in film. Reel Injun is illustrated with excerpts from archetype and gimmicky portrayals of Native people in Hollywood films and interviews with filmmakers, actors and film historians, while director Diamond travels across the United States to visit iconic locations in motion picture besides as American Indian history.^[34] The documentary chronicles the journeying of Native Americans in film over roughly a century, with detail attending on the transition from the silent era of Hollywood to today.^[35] It utilises clips from dissimilar eras of picture show, and Diamond meets with famous filmmakers such every bit Clint Eastwood to learn more than nearly the transformation of the Native American image onscreen. Other cameos include Robbie Robertson (soundtrack composer), Graham Greene (Native American role player), Wes Studi (Native American actor), Jim Jarmusch (filmmaker), and Chris Eyre (filmmaker). Diamond heads to famous locations such every bit Monument Valley, where many Westerns were filmed, and South Dakota's Black Hills, the home of several notable Native Americans.
• Inventing the Indian (2012): Inventing the Indian is a 2012 BBC documentary, initially circulate on October 28, 2012, that explores the stereotypical view of Native Americans in the United states in movie theater and literature.^[36] Directed past Chris Cottam, the documentary is presented by Rich Hall, an American comedian. The cast likewise includes Dave Bald Hawkeye, Ailema Benally, and Milton Bianis. Hall attempts to dismantle some of the pervasive stereotypes that beleaguer the Native American community to this solar day past heading to indigenous areas in Arizona, South Dakota, and other places too. He examines the fashion Native Americans have been portrayed on screen in films such every bit Soldier Blue and A Human Called Horse, while besides looking at literary representations of ethnic peoples, in books similar The Last of the Mohicans and Bury My Eye at Wounded Knee.^[36]

Prominent Native American actors [edit]

• Early on Native Americans in Film

• 

  Dark Cloud (1855–1918), Native American movie histrion

• 

  Edwin Carewe (1883–1940), the most prolific Native American manager of characteristic films in Hollywood history

Dark Cloud, as well known as Elijah Tahamont, was an Algonquin chief built-in in St. Francis Indian Hamlet, Quebec, Canada who lived from 1861–1918. He starred in films such as What Am I Bid? (1919), The Woman Untamed (1920), The Birth of a Nation (1915), and The Dishonoured Metal (1914).

Cherry-red Wing was born in 1884 to a Winnebago mother and French Canadian/Sauk father on the Winnebago Reservation in Nebraska. Early in her career, she starred in many small moving-picture show roles. She was best known for starring in one of Hollywood's offset characteristic Westerns, The Squaw Human being (1914). She was married to James Immature Deer, another indigenous actor and director.

Edwin Carewe, likewise known as Jay John Fox, was born in Gainesville, Texas, in 1883 to a white father and Chickasaw female parent. An actor early on in his career, Carewe started directing Hollywood films in 1914 during the silent era.^[37] Some of his films include Ramona (1928), Evangeline (1929), Resurrection (1927), and Joanna (1925).

Luther Continuing Bear, likewise known as Ota K'Te (Plenty Kill), was born on the Pine Ridge Reservation in South Dakota and lived from 1868–1939.^[38] He is an Oglala Lakota writer and actor who started acting in 1912. Some of his filmography includes White Oak (1921), Cyclone of the Saddle (1935), and Union Pacific (1939).

James Young Deer was born James Immature Johnson in Washington D.C. in 1876. He hails from the Nanticoke people of Delaware, and worked both as a managing director and actor. Some of his films include The Stranger (1920), The Great Underground (1917), and Lieutenant Daring RN and the Water Rats (1924). From 1911–1914, James Young Deer was Head of Production/general director for the Pathé Frères West Coast Studio located in Edendale, California. He was married to Native American actress Ruby-red Wing and died in 1946.

Wes Studi, born in 1947 in Oklahoma, is a Cherokee actor and professional equus caballus trainer known for starring in over 80 films. Some of his work includes Dances with Wolves (1990), The Terminal of the Mohicans (1992), and Avatar (2009). He is credited with bringing versatile and masterful performances into Hollywood which have helped to dismantle some of the stereotypes surrounding Native Americans within the industry. In 2019, Studi received the Governors Honor, an honorary award that commemorates the lifetime functioning of an thespian each year. Studi is only the 2nd actor to receive an award for performances in movie, post-obit Ben Johnson in 1972.^[39]

Born in Due south Dakota, Russell Means was an Oglala Lakota Dakota Native American who lived from 1939–2012. Means was the first director of the American Indian Movement, which was originally created to fight poverty and constabulary brutality amid American ethnic communities. He fought for the rights of indigenous people worldwide, and is known for giving a televised spoken communication in 2000 where he said he prefers the characterization 'Indian' to 'Native American' considering everyone born in the United states of america should exist considered a Native American.^[twoscore] He also ran an unsuccessful presidential campaign in 1987 as a member of the Libertarian party. He has starred in films such as The Final of the Mohicans (1992), Natural Born Killers (1994) and Pocahontas (1995).

Will Sampson, from Oklahoma, was a member of the Creek Nation that lived from 1933–1987. He received his large acting break with the role "Master" Bromden in I Flew Over the Cuckoo's Nest (1975), i of only 3 films to win the Big Five Academy Awards. Sampson was also known for starring in films such as The Outlaw Josey Wales (1976), Orca (1977), and The White Buffalo (1977). Later dying in 1987, he was cached on the reservation that he grew up on.

Floyd Westerman, who as well went past 'Ruby-red Crow', was a Dakota Sioux thespian, activist and musician built-in in 1936 on the Lake Traverse Indian Reservation in Roberts County, South Dakota. He starred in Dances with Wolves (1990), Dharma & Greg (1997), and Hidalgo (1994). Outside of picture, Westerman has used his musical talents to bring greater awareness to issues facing indigenous people in the United States. He collaborated with artists such as Sting, Willie Nelson, and Don Henley to achieve such goals. He was likewise an administrator for the International Indian Treaty Council, a multinational organization striving for the self-decision and autonomy of indigenous peoples across the world. He died in 2007.

Visual sovereignty [edit]

Visual sovereignty is a way of looking at indigenous sovereignty outside of legal parameters defined past Seneca scholar Michelle H. Raheja as "a mode of reimagining Native-centered articulations of self-representation and autonomy that appoint the powerful ideologies of mass media," to accept dorsum the correct to tell their own stories. Scholar Julia Boyd writes "White males have long dominated the film industry (. . .) Yet, Indian filmmakers have been on the rising in recent decades."^{[1] [ii]}

As an instance of visual sovereignty, Igloolik Isuma Productions was the commencement Inuit owned production company known for producing films such as Atanarjuat: The Fast Runner.  Isuma was formed in 1981 and created Inuit films in their native language Inuktitut. Isuma Productions also runs IsumaTV that hosts indigenious filmmakers. The Isuma Website states it hosts "over 7000 films and videos in 84 languages." Isuma Productions continues to be a leader when it comes to visual sovereignty.^{[41] [42] [43]}

Fume Signals (1998): Native Filmmaker Chris Eyre wrote and directed the pic Smoke Signals, which has been selected for preservation in the National Pic Registry for being "culturally, historically, or aesthetically meaning". It is one of few films featuring Native American characters and directed by a Native filmmaker (along with Edwin Carewe's early films) that received theatrical distribution.^[15] Smoke Signals was written, directed, and acted in by Native Americans.^[fifteen] Like Confab Highway, it is also a route motion picture and buddy picture show that examines friendship, fatherhood, and the roles of tradition versus modernity in Indian Country.^[16]

Written and directed by Mi'kmaq filmmaker Jeff Barnaby, Rhymes for Young Ghouls (2013) tells the story of Aila, played by Kawennáhere Devery Jacobs, as she goes up against Popper, an Indian agent and head of the nearby residential school. The reservation has been deeply affected by the residential school, partaking in the use of drugs and alcohol in lodge to forget the trauma inflicted by the school system.  Rhymes for immature ghouls is a revenge story against the Canadian residential schoolhouse system and offers a path towards decolonization through educating people on the residential school system and opening upwards dialogue every bit a ways to decolonization. Written and acted in by Natives, Rhymes for young ghouls exemplifies visual sovereignty.^[44]

Another Jeff Barnaby picture show, Blood Quantum (2019) is almost a zombie apocalypse where merely Mi'gmaq people are immune. Barnaby explores life in a post-colonial social club through the lens of a zombie apocalypse where they must resist and fight against their oppressors and avoid extinction. Barnaby again used a native bandage to tell a native story showcasing visual sovereignty.^[45]

Written and directed by the Cree-Métis filmmaker Danis Goulet, Night Raiders (2021) takes place in a dystopian post-state of war N America where children are endemic by the country. Night Raiders is in scathing commentary on Native residential schools and the kidnapping of children by the state to be placed in these schools. The film stars Elle-Máijá Tailfeathers, a Blackfoot and Sámi actress, as Niska and Brooklyn Letexier-Hart as Waseese.^[46]

See also [edit]

• Listing of Native American actors
• Karl May
• Indian Wedding Blessing
• Native American Film and Video Festival
• Plastic Shaman
• Pre-Code Hollywood
• Spaghetti Western
• Reel Injun, a documentary
• Native Americans in popular culture
• Native Americans in children'due south literature
• Stereotypes about indigenous peoples of North America

References [edit]

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2. ^ ^{a b} Raheja, Michelle H. "Visual Sovereignty." Native Studies Keywords, pp. 25–34., https://doi.org/10.2307/j.ctt183gxzb.half-dozen.
3. ^ ^{a b} Green, Rayna. "The Pocahontas Perplex: The Image of Indian Women in American Culture." Intercultural and Interracial Relations, 1993, pp. 150–166., https://doi.org/10.1515/9783110978926.150.
4. ^ Price, John A. (1973). "The Stereotyping of Due north American Indians in Motility Pictures". Ethnohistory. 20 (ii): 153–171. doi:10.2307/481668. ISSN 0014-1801. JSTOR 481668.
5. ^ Cost, John A. (1973). "The Stereotyping of Northward American Indians in Move Pictures". Ethnohistory. xx (2): 153–171. doi:10.2307/481668. ISSN 0014-1801. JSTOR 481668. Angela Aleiss, Making the White Man's Indian" Native Americans and Hollywood Movies, (2005), Praeger Publishers.
6. ^ Diamond, Neil, managing director. Reel Injun. xix Feb. 2010.
7. ^ Rex, Thomas. The Truth about Stories: A Native Narrative. Firm of Anansi Press Inc., 2010.
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40. ^ Isuma. IsumaTV. (n.d.). Retrieved December v, 2021, from http://world wide web.isuma.tv/isuma.
41. ^ Evans, Michael. "Igloolik Isuma." Isuma: Inuit Video Art, McGill-Queen'southward University Printing, Montréal, 2014.
42. ^ Raheja, Michelle. "Reading Nanook's Smile: Visual Sovereignty, Ethnic Revisions of Ethnography, and Atanarjuat (the Fast Runner)." American Quarterly, vol. 59, no. 4, 2007, pp. 1159–1185., https://doi.org/10.1353/aq.2007.0083.
43. ^ Carlton, Sean. "On Violence and Vengeance: Rhymes for Young Ghouls and the Horrific History of Canada's Indian Residential Schools." Wordpress, 24 Oct. 2014, https://decolonization.wordpress.com/2014/10/24/on-violence-and-vengeance-rhymes-for-young-ghouls-and-the-horrific-history-of-canadas-indian-residential-schools/.
44. ^ "Blood Quantum." TIFF, 22 Sept. 2021, https://tiff.net/events/blood-quantum.
45. ^ Powster. "Night Raiders." Night Raiders | Official Website | 08 October 2021, 8 Oct. 2021, https://www.nightraidersmovie.com/synopsis/.

Bibliography [edit]

• Aleiss, Angela. Making the White Human's Indian. Native Americans and Hollywood Movies (Westport/CT and London: Praeger, 2005) ISBN 0-275-98396-Ten
• Aleiss, Angela. "A Race Divided: The Indian Westerns of John Ford," American Indian Culture & Research Journal, xviii (ii), Summertime 1995, 25–34.
• Berkhofer, Richard. The White Human's Indian. Images of the American Indian from Columbus to the Nowadays. (New York: Random Firm, 1978).
• Brockman, Joshua. "Telling the Truth from Inside Indian Country." New York Times (September 29, 2002).
• Bovey, Seth. "Dances with Stereotypes: Western FIlms and the Myth of the Noble Carmine." S Dakota Review 7.ii (1993): 115–122.
• Churchill, Ward, Norbert Colina, and Mary Ann Loma. "Media Stereotyping and Native Response: An Historical Overview." The Indian Historian 11.four (1978): 45–56, 63.
• Churchill, Ward. Fantasies of the Master Race. Literature, Movie theater, and the Colonization of the American Indians (San Francisco: City Light Books, 1998).
• Deloria, Vine. "Foreword/American Fantasy." In Thousand.Chiliad. Bataille and C.L.South. Silet, eds. The Pretend Indians: Images of Native Americans in the Movies (Ann Arbor: Books on Demand, 1994), ix–sixteen.
• Hilger, Michael. From Brutal to Nobleman. Images of Native Americans in Motion picture (Lanham/Dr. and London: Scarecrow Press, 1995).
• Kilpatrick, Jacquelyn. Celluloid Indians. Native Americans in Film. (Lincoln and London: University of Nebraska Press, 1999).
• Lutz, Hartmut. Approaches. Essays in Native Northward American Studies and Literatures (Augsburg: Wißner, 2002).
• Mihelich, John. "Smoke or Signals? American Popular Civilization and the Claiming to Hegemonic Images of American Indians in Native American Motion-picture show." Wicazso Sa Review 16.ii (2001), 129–137.
• Nolley, Ken. "John Ford and the Hollywood Indian." Moving-picture show and History 23.1–4 (1993): 39–49.
• O'Connor, John Eastward. "The White Man'southward Indian. An Institutional Approach." In P.C. Rollins and John E. O'Connor, eds. Hollywood's Indian: The Portrayal of the Native American in Movie (Lexington/KY: University Press of Kentucky, 2003), 27–38.
• Toll, John A. "The Stereotyping of Northward American Indians in Move Pictures." In G.One thousand. Bataille and C.L.S. Silet, eds. The Pretend Indians: Images of Native Americans in the Movies (Ann Arbor: Books on Demand, 1994), 75–91.
• Sandos, James, and Larry Burgess. "The Hollywood Indian versus Native Americans. Tell Them Willie Male child is Here (1969)." In P.C. Rollins and John Due east. O'Connor, eds. Hollywood's Indian: The Portrayal of the Native American in Pic (Lexington/KY: University Printing of Kentucky, 2003), 107–120.

Farther reading [edit]

• Native Americans on Network Tv set (2013)
• Bird, Elizabeth, ed. Dressing in Feathers. The Construction of the Indian in American Popular Culture (Boulder/CO and Oxford: Westview Press, 1996).
• Buscombe, Edward. 'Injuns!' Native Americans in the Movies (Bodmin: Reaktion Books, 2006).
• Smith, Andrew Brodie. Shooting Cowboys and Indians. Silent Western Films, American Civilisation, and the Birth of Hollywood" (Boulder/CO: University of Colorado, 2003).
• Aleiss, Angela (2005). Making the White Human being's Indian: Native Americans and Hollywood Movies. Westport, Conn./London: Praeger. ISBN0-275-98396-X.
• Simmon, Scott (June 30, 2003). The Invention of the Western Picture show: A Cultural History of the Genre's First Half Century. New York: Cambridge Academy Press. ISBN0-521-55581-seven.
• Hearne, Joanna (2013). Native Recognition: Indigenous Cinema and the Western. Albany, NY: SUNY Press.
• Liza Black. 2020. Picturing Indians: Native Americans in Picture, 1941-1960. University of Nebraska Press.https://www.lizablack.com

External links [edit]

• Jay Tavare, "Hollywood Indians", Huffington Post (18 May 2011).
• Listing of films featuring Native Americans provided past Michigan State University

lewisthecumen.blogspot.com

Source: https://en.wikipedia.org/wiki/Native_Americans_in_film

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