Reservation reelism : redfacing, visual sovereignty, and representations of native Americans in film
著者
書誌事項
Reservation reelism : redfacing, visual sovereignty, and representations of native Americans in film
University of Nebraska Press, c2010
- : cloth
- : pbk
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注記
Includes bibliographical references (p. [291]-317) and index
内容説明・目次
内容説明
In this deeply engaging account Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who helped shape Hollywood's representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Indigenous plots and subplots also signify at least some degree of Native presence in a culture that largely defines Native peoples as absent or separate. Native actors, directors, and spectators have had a part in creating these cinematic representations and have thus complicated the dominant, and usually negative, messages about Native peoples that films portray. In Reservation Reelism Raheja examines the history of these Native actors, directors, and spectators, reveals their contributions, and attempts to create positive representations in film that reflect the complex and vibrant experiences of Native peoples and communities.
目次
PrefaceIntroduction/Chapter 1. Towards a Genealogy of Indigenous Film Theory: Reading Hollywood IndiansChapter 2. Ideologies of (In)visibility: Redfacing, Gender, and Moving ImagesChapter 3. Tears and Trash: Economies of Redfacing and the Ghostly IndianChapter 4. Prophesizing on the Virtual Reservation: Imprint and It Starts with a WhisperChapter 5. Visual Sovereignty, Indigenous Revisions of Ethnography and Atanarjuat (The Fast Runner)Epilogue. Redfacing Redux
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