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Navajo Talking Picture, released in 1985, is one of the earliest and most controversial works of Native cinema. It is a documentary by Los Angeles filmmaker Arlene Bowman, who travels to the Navajo reservation to record the traditional ways of her grandmother in order to understand her own cultural heritage. For reasons that have often confused viewers, the filmmaker persists despite her traditional grandmother’s forceful objections to the apparent invasion of her privacy. What emerges is a strange and thought-provoking work that abruptly calls into question the issue of insider versus outsider and other assumptions that have obscured the complexities of Native art. Randolph Lewis offers an insightful introduction and analysis of Navajo Talking Picture, in which he shows that it is not simply the first Navajo-produced film but also a path-breaking work in the history of indigenous media in the United States. Placing the film in a number of revealing contexts, including the long history of Navajo people working in Hollywood, the ethics of documentary filmmaking, and the often problematic reception of Native art, Lewis explores the tensions and mysteries hidden in this unsettling but fascinating film.
Insightful introduction and analysis of Navajo Talking Picture.
Looks at the movies of Native American filmmakers and explores how they have used their works to leave behind the stereotypical Native American characters of old.
In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television. In this book, the first devoted to any Native filmmaker, Obomsawin receives her due as the central figure in the development of indigenous media in North America. ø Incorporating history, politics, and film theory into a compelling narrative, Randolph Lewis explores the life and work of a multifaceted woman whose career was flourishing long before Native films such as Smoke Signals reached the screen. He traces Obomsawin?s path from an impoverished Abenaki reserve in the 1930s to bohemian Montreal in the 1960s, where she first found fame as a traditional storyteller and singer. Lewis follows her career as a celebrated documentary filmmaker, citing her courage in covering, at great personal risk, the 1991 Oka Crisis between Mohawk warriors and Canadian soldiers. We see how, since the late 1960s, Obomsawin has transformed documentary film, reshaping it for the first time into a crucial forum for sharing indigenous perspectives. Through a careful examination of her work, Lewis proposes a new vision for indigenous media around the globe: a ?cinema of sovereignty? based on what Obomsawin has accomplished.
This insightful volume delves into land-based Diné and Dene imaginaries as embodied in stories—oral, literary, and visual. Like the dynamism and kinetic facets of hózhǫ́,* Restoring Relations Through Stories takes us through many landscapes, places, and sites. Renae Watchman introduces the book with an overview of stories that bring Tsé Bitʼaʼí, or Shiprock Peak, the sentinel located in what is currently the state of New Mexico, to life. The book then introduces the dynamic field of Indigenous film through a close analysis of two distinct Diné-directed feature-length films, and ends by introducing Dene literatures. While the Diné (those from the four sacred mountains in Dinétah in the southwestern United States) are not now politically and economically cohesive with the Dene (who are in Denendeh in Canada), they are ancestral and linguistic relatives. In this book, Watchman turns to literary and visual texts to explore how relations are restored through stories, showing how literary linkages from land-based stories affirm Diné and Dene kinship. She explores the power of story to forge ancestral and kinship ties between the Diné and Dene across time and space through re-storying of relations. *A complex Diné worldview and philosophy that cannot be defined with one word in the English language. Hózhǫ́ means to continually strive for harmony, beauty, balance, peace, and happiness, but most importantly the Diné have a right to it.
Liza Black critically examines the inner workings of post–World War II American films and production studios that cast American Indian extras and actors as Native people, forcing them to come face to face with mainstream representations of “Indianness.”
Growing up on the Navajo Indian Reservation, David Crow and his siblings idolized their dad, a self-taught Cherokee who loved to tell his children about his World War II feats. But as time passed, David discovered the other side of Thurston Crow, the ex-con with his own code of ethics that justified cruelty, violence, lies--even murder. Intimidating David with beatings, Thurston coerced his son into doing his criminal bidding. David's mom, too mentally ill to care for her children, couldn't protect him. Through sheer determination, and with the help of a few angels along the way, David managed to get into college and achieve professional success. When he finally found the courage to refuse his father's criminal demands, he unwittingly triggered a plot of revenge that would force him into a deadly showdown with Thurston Crow. David would have only twenty-four hours to outsmart his father--the brilliant, psychotic man who bragged that the three years he spent in the notorious San Quentin State Prison had been the easiest time of his life. Raw and palpable, The Pale-Faced Lie is an inspirational story about the power of forgiveness and the strength of the human spirit.
Exploring how Indigenous media has flourished across Canada from the 1990s to the present In the early 1990s, Indigenous media experienced a boom across Canada, resulting in a vast landscape of film, TV, and digital media. Coinciding with a resurgence of Indigenous political activism, Indigenous media highlighted issues around sovereignty and Indigenous rights to broader audiences in Canada. In Producing Sovereignty, Karrmen Crey considers the conditions—social movements, state policy, and evolutions in technology—that enabled this proliferation. Exploring the wide field of media culture institutions, Crey pays particular attention to those that Indigenous media makers engaged during this cultural moment, including state film agencies, arts organizations, provincial broadcasters, and more. Producing Sovereignty ranges from the formation of the Aboriginal Film and Video Art Alliance in the early 1990s and its partnership with the Banff Centre for the Arts to the Canadian Broadcasting Corporation’s 2016 production of Highway of Tears—an immersive 360-degree short film directed by Anishinaabe filmmaker Lisa Jackson—highlighting works by Indigenous creators along the way and situating Indigenous media within contexts that pay close attention to the role of media-producing institutions. Importantly, Crey focuses on institutions with limited scholarly attention, shifting beyond the work of the National Film Board of Canada to explore lesser-known institutions such as educational broadcasters and independent production companies that create programming for the Aboriginal Peoples Television Network. Through its refusal to treat Indigenous media simply as a set of cultural aesthetics, Producing Sovereignty offers a revealing media history of this cultural moment.
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.
"Readers who choose the book for the attraction of Navajo code talking and the heat of battle will come away with more than they ever expected to find."—Booklist, starred review Throughout World War II, in the conflict fought against Japan, Navajo code talkers were a crucial part of the U.S. effort, sending messages back and forth in an unbreakable code that used their native language. They braved some of the heaviest fighting of the war, and with their code, they saved countless American lives. Yet their story remained classified for more than twenty years. But now Joseph Bruchac brings their stories to life for young adults through the riveting fictional tale of Ned Begay, a sixteen-year-old Navajo boy who becomes a code talker. His grueling journey is eye-opening and inspiring. This deeply affecting novel honors all of those young men, like Ned, who dared to serve, and it honors the culture and language of the Navajo Indians. An ALA Best Book for Young Adults "Nonsensational and accurate, Bruchac's tale is quietly inspiring..."—School Library Journal