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.
Зміст
List of Illustrations
Acknowledgments
Introduction: Before-and-After: Vanishing and Visibility in Native American Images
Part I: Indigenous Presence in the Silent Western
1. Reframing the Western Imaginary: James Young Deer, Lillian St. Cyr, and the “Squaw Man” Indian Dramas
2. “Strictly American Cinemas”: Social Protest in
The Vanishing American,
Redskin, and
Ramona
Part II: Documenting Midcentury Images
3. “As If I Were Lost and Finally Found”: Repatriation and Visual Continuity in
Imagining Indians and
The Return of Navajo Boy
Part III: Independent Native Features
4. Imagining the Reservation in
House Made of Dawn and
Billy Jack
5. “Indians Watching Indians on TV”: Native Spectatorship and the Politics of Recognition in
Skins and
Smoke Signals
Coda
Persistence Vision
Notes
Works Cited
Index
Про автора
Joanna Hearne is Associate Professor of English and Film Studies at the University of Missouri. She is the author of
Smoke Signals: Native Cinema Rising.
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