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Indigenous media challenges the power of the state, erodes communication monopolies, and illuminates government threats to indigenous cultural, social, economic, and political sovereignty. Its effectiveness in these areas, however, is hampered by government control of broadcast frequencies, licensing, and legal limitations over content and ownership.Indigenous Screen Cultures in Canada explores key questions surrounding the power and suppression of indigenous narrative and representation in contemporary indigenous media. Focussing primarily on the Aboriginal Peoples Television Network, the authors also examine indigenous language broadcasting in radio, television, and film; Aboriginal journalism practices; audience creation within and beyond indigenous communities; the roles of program scheduling and content acquisition policies in the decolonization process; the roles of digital video technologies and co-production agreements in indigenous filmmaking; and the emergence of Aboriginal cyber-communities.
The lives of Indigenous peoples have long been framed for the outside world by others' cinematic gaze. But during the past thirty years, North America's Indigenous image-makers, particularly in Canada, have used the changing technologies of film, video, television, and computer to present their peoples' histories, identities, and perspectives. This edited collection of essays, conversations, and interviews combines Indigenous and non-Indigenous voices as it sets changing representations of Indigenous people on screen against broader socio-cultural, ideological, and economic considerations.
Indigenous media challenges the power of the state, erodes communication monopolies, and illuminates government threats to indigenous cultural, social, economic, and political sovereignty. Its effectiveness in these areas, however, is hampered by government control of broadcast frequencies, licensing, and legal limitations over content and ownership.Indigenous Screen Cultures in Canada explores key questions surrounding the power and suppression of indigenous narrative and representation in contemporary indigenous media. Focussing primarily on the Aboriginal Peoples Television Network, the authors also examine indigenous language broadcasting in radio, television, and film; Aboriginal journalism practices; audience creation within and beyond indigenous communities; the roles of program scheduling and content acquisition policies in the decolonization process; the roles of digital video technologies and co-production agreements in indigenous filmmaking; and the emergence of Aboriginal cyber-communities.
While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver, Sovereign Screens reveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions. Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres--including experimental media--to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces, Sovereign Screens offers new insights into the on-screen and off-screen impacts of Aboriginal media.
We Interrupt This Program tells the story of how Indigenous people are using media tactics in the realms of art, film, television, and journalism to rewrite Canada’s national narratives from Indigenous perspectives. Miranda Brady and John Kelly showcase the diversity of these interventions by offering personal accounts and reflections on key moments – witnessing survivor testimonies at the Truth and Reconciliation Commission, attending the opening night of the ImagineNative Film + Media Festival, and discussing representations of Indigenous people with artists such as Kent Monkman and Dana Claxton and with CBC journalist Duncan McCue. These scene-setting moments bring to life their argument that media tactics, as articulations of Indigenous sovereignty, have the power not only to effect change from within Canadian institutions and through established mediums but also to spark new forms of political and cultural expression in Indigenous communities and among Indigenous youth. Theoretically sophisticated and eminently readable, We Interrupt This Program reveals how seemingly unrelated acts by Indigenous activists across Canada are decolonizing our cultural institutions from within, one intervention at a time.
NATIONAL BESTSELLER SHORTLISTED for the 2022 Rakuten Kobo Emerging Writer Prize A GLOBE AND MAIL BEST BOOK OF THE YEAR "Unreconciled is one hell of a good book. Jesse Wente’s narrative moves effortlessly from the personal to the historical to the contemporary. Very powerful, and a joy to read." —Thomas King, author of The Inconvenient Indian and Sufferance A prominent Indigenous voice uncovers the lies and myths that affect relations between white and Indigenous peoples and the power of narrative to emphasize truth over comfort. Part memoir and part manifesto, Unreconciled is a stirring call to arms to put truth over the flawed concept of reconciliation, and to build a new, respectful relationship between the nation of Canada and Indigenous peoples. Jesse Wente remembers the exact moment he realized that he was a certain kind of Indian--a stereotypical cartoon Indian. He was playing softball as a child when the opposing team began to war-whoop when he was at bat. It was just one of many incidents that formed Wente's understanding of what it means to be a modern Indigenous person in a society still overwhelmingly colonial in its attitudes and institutions. As the child of an American father and an Anishinaabe mother, Wente grew up in Toronto with frequent visits to the reserve where his maternal relations lived. By exploring his family's history, including his grandmother's experience in residential school, and citing his own frequent incidents of racial profiling by police who'd stop him on the streets, Wente unpacks the discrepancies between his personal identity and how non-Indigenous people view him. Wente analyzes and gives voice to the differences between Hollywood portrayals of Indigenous peoples and lived culture. Through the lens of art, pop culture, and personal stories, and with disarming humour, he links his love of baseball and movies to such issues as cultural appropriation, Indigenous representation and identity, and Indigenous narrative sovereignty. Indeed, he argues that storytelling in all its forms is one of Indigenous peoples' best weapons in the fight to reclaim their rightful place. Wente explores and exposes the lies that Canada tells itself, unravels "the two founding nations" myth, and insists that the notion of "reconciliation" is not a realistic path forward. Peace between First Nations and the state of Canada can't be recovered through reconciliation--because no such relationship ever existed.
Unlike most books that chronicle the history of Native peoples beginning with the arrival of Europeans in 1492, this book goes back to the Ice Age to give young readers a glimpse of what life was like pre-contact. The title, Turtle Island, refers to a Native myth that explains how North and Central America were formed on the back of a turtle. Based on archeological finds and scientific research, we now have a clearer picture of how the Indigenous people lived. Using that knowledge, the authors take the reader back as far as 14,000 years ago to imagine moments in time. A wide variety of topics are featured, from the animals that came and disappeared over time, to what people ate, how they expressed themselves through art, and how they adapted to their surroundings. The importance of story-telling among the Native peoples is always present to shed light on how they explained their world. The end of the book takes us to modern times when the story of the Native peoples is both tragic and hopeful.
"This practical guide is essential reading for all filmmakers shooting in Australia. Research and written by lawyer Terri Janke, Pathways & Protocols provides advice about the ethical and legal issues involved in transferring Indigenous cultural material to the screen. Whether shooting in country or city, with an Indigenous cast or not, practitioners of film, TV and digital media projects are encouraged to recognise and respect Indigenous people's images, knowledge, stories and land in the production of audiovisual material."--Back cover.
"The Indigenous Experience: Global Perspectives is the first book of its kind. In attempting to present the reader with some of the richness and heterogeneity of Indigenous colonial experiences, the articles featured in this provocative new volume constitute a broad survey of Indigenous Peoples from around the globe. Examples are drawn from the North American nations of Canada and the United States; the Hispanic nations of Latin America; Australia; New Zealand; Hawaii and Rapanui from Oceania; from Northern Europe and the circumpolar region, Norway; and from the continent of Africa, an example from Nigeria. The readings focus on the broader issues of indigeneity in globalization; the book is organized by universal themes that stretch across national and geographic boundaries: The processes of colonization that include conquest, slavery, and dependence ; Colonialism, genocide, and the problem of intention ; Social constructs, myths, and criminalization ;The ongoing struggle to attain social justice, self-determination, and equity."--pub. desc. Additional keywords : Aboriginal peoples, Indians, First Nations, Aboriginies, Maori.
Recent archaeological discoveries in the polar region have reanimated stock images of the intrepid explorer who braves the elements to bring modernity to a frigid northern wasteland. The Iconic North reveals that ideological assumptions, economic priorities, and a shift in government strategy in the postwar era all influenced how northern culture was represented in popular Canadian imagery. Whether it was film, television, or women’s autobiographies, the “primitive” North was often portrayed as the mirror opposite to the “modern” South. In crisp and elegant prose, Joan Sangster redirects current debates about the geopolitical prospects of the North by addressing how women and gender relations have played a key role in the history of northern development.Drawing on archival and cultural sources, Sangster shows how gender, race, and colonialism shape our understanding of northern peoples, economies, and government policy. This work reveals how assumptions about both Indigenous and non-Indigenous women shaped gender, class, and political relationships in the circumpolar north – a region now commanding more of the world’s attention.