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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.
Killing the Indian Maiden examines the fascinating and often disturbing portrayal of Native American women in film. M. Elise Marubbio examines the sacrificial role in which a young Native woman allies herself with a white male hero and dies as a result of that choice. In studying thirty-four Hollywood films from the silent period to the present, she draws upon theories of colonization, gender, race, and film studies to ground her analysis in broader historical and sociopolitical context and to help answer the question, “What does it mean to be an American?” The book reveals a cultural iconography embedded in the American psyche. As such, the Native American woman is a racialized and sexualized other. A conquerable body, she represents both the seductions and the dangers of the American frontier and the Manifest Destiny of the American nation to master 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.”
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.
The indispensable sage, fierce enemy, silent sidekick: the role of Native Americans in film has been largely confined to identities defined by the “white” perspective. Many studies have analyzed these simplistic stereotypes of Native American cultures in film, but few have looked beyond the Hollywood Western for further examples. Distinguished film scholar Edward Buscombe offers here an incisive study that examines cinematic depictions of Native Americans from a global perspective. Buscombe opens with a historical survey of American Westerns and their controversial portrayals of Native Americans: the wild redmen of nineteenth-century Wild West shows, the more sympathetic depictions of Native Americans in early Westerns, and the shift in the American film industry in the 1920s to hostile characterizations of Indians. Questioning the implicit assumptions of prevailing critiques, Buscombe looks abroad to reveal a distinctly different portrait of Native Americans. He focuses on the lesser known Westerns made in Germany—such as East Germany’s Indianerfilme, in which Native Americans were Third World freedom fighters battling against Yankee imperialists—as well as the films based on the novels of nineteenth-century German writer Karl May. These alternative portrayals of Native Americans offer a vastly different view of their cultural position in American society. Buscombe offers nothing less than a wholly original and readable account of the cultural images of Native Americans through history andaround the globe, revealing new and complex issues in our understanding of how oppressed peoples have been represented in mass culture.
Covers over 800 films, including many Silents and all relevant sound films. With a film title index. 'A welcome addition to the film literature...' REFERENCE BOOKS BULLETIN