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Representing Aboriginality takes a close look at the dominant trends in the representation of aboriginal people in Australian, South African and Aotearoa/ New Zealand film. Jan Mohamed's thesis of The Economy of the Manichean Allegory is employed to interrogate these trends in terms of Other/Self binaries, where representations of the Other are understood to be sensitive to tensions within the individual psyches of the media-makers as well as to social tensions and stresses within the "political unconscious" of the society in which they appear. Thee films are analyzed in the discussion of the dominant trends: The Great Dance- a hunter's story, The Last Wave, and Once Were Warriors. Clelland-Stokes' forceful analysis of visual representations pf aboriginality will be of interest to scholars and students on the fields of visual anthropology, cultural anthropology, culture and media studies, film studies, and anyone interested in the visual culture of aboriginal and indigenous communities.
This book critically investigates the ways in which Aboriginal children and childhood figure in Australia’s cultural life to mediate Australians’ ambivalence about the colonial origins of the nation, as well as its possible post-colonial futures. Engaging with representations in literature, film, governmental discourse, and news and infotainment media, it shows how ways of representing Aboriginal children and childhood serve a national project of representing settler-Australian values, through the forgetting of colonial violence. Analysing the ways in which certain negative aspects of Australian nationhood are concealed, rendered invisible, and repressed through practices of representing Aboriginal children and childhood, it challenges accepted ‘shared understandings’ regarding Australian-ness and settler-colonial sovereignty. Through an innovative interdisciplinary approach that engages critical theory, post-colonial theory, literary studies, history, psychoanalysis, and philosophy, Representing Aboriginal Childhood responds to urgent questions that pivot on the role of the Indigenous child within settler nation-state formations. As such, it will appeal to scholars of sociology and social geography, collective memory, politics and cultural studies.
Elements of Indigenous Style offers Indigenous writers and editors—and everyone creating works about Indigenous Peoples—the first published guide to common questions and issues of style and process. Everyone working in words or other media needs to read this important new reference, and to keep it nearby while they’re working. This guide features: - Twenty-two succinct style principles. - Advice on culturally appropriate publishing practices, including how to collaborate with Indigenous Peoples, when and how to seek the advice of Elders, and how to respect Indigenous Oral Traditions and Traditional Knowledge. - Terminology to use and to avoid. - Advice on specific editing issues, such as biased language, capitalization, and quoting from historical sources and archives. - Case studies of projects that illustrate best practices.
Written by established and emerging Indigenous intellectuals from a variety of positions, perspectives and places, these essays generate new ways of seeing and understanding Indigenous Australian history, culture, identity and knowledge in both national and global contexts. From museums to Mabo, anthropology to art, feminism to film, land rights to literature, the essays collected here offer provocative insights and compelling arguments around the historical and contemporary issues confronting Indigenous Australians today.
Representing Others examines a diverse range of cultural forms in which white novelists, sculptors, diarists, photographers, ethnographers, travel writers and filmmakers have depicted Native American, African, Pacific and Australian Aboriginal peoples. As they were seen by incoming whites who were themselves strangers to the land, they most often appeared incomprehensible, threatening, 'Other'. The analyses in this book go beyond simply asking questions about the 'accuracy' or otherwise of a work's representation of the culture under discussion. Although the seven authors conform to no single position and adopt a variety of critical approaches, they share a common concern. These essays all propose that if we are to use our own terms to speak of another culture, we must become aware of the problems involved in the act of representation itself. Contributions by Anthony Fothergill, Mick Gidley, Richard Maltby, Peter Quartermaine, Stephanie Smiles, Ronald Tamplin and Tim Youngs
Unsettling Sights: The Fourth World on Film examines the politics of representing Aboriginality, in the process bringing frequently marginalized voices and visions, issues and debates into the limelight. Corinn Columpar uses film theory, postcolonial theory, and Indigenous theory to frame her discussion of the cinematic construction and transnational circulation of Aboriginality. The result is a broad interdisciplinary analysis of how Indigeneity is represented in cinema, supported by more than twenty rigorous and theoretically informed case studies of contemporary feature films by both First- and Fourth-World filmmakers in the United States, Canada, New Zealand, and Australia. Columpar relies heavily on textual analysis of the films but also explores contextual issues in filmmaking such as funding, personnel, modes of production, and means of distribution. Part one of Unsettling Sights focuses on contact narratives in which the Aboriginal subject is constructed in reactive response to a colonizing or invading presence. Films such as The Piano and The Proposition, wherein a white man “goes native,” and The New World and Map of the Human Heart, which approach contact from the perspective of an Aboriginal character, serve as occasions to examine the ways in which Aboriginal identities are negotiated within dominant cinema. Part two shifts the focus from contact narratives to films that seek to define Aboriginality on its own terms, with reference to a (lost) homeland and/or Indigenous practices of (hi)story-telling: while texts such as Once Were Warriors and Smoke Signals foster an engagement with issues of deterritorialization, relocation, and urbanization, discussion of beDevil, Atanarjuat, and The Business of Fancydancing, among others,bring questions of voice, translation, and the relationship between cinema and oral tradition to the forefront. Unsettling Sights is the first significant, scholarly examination of Aboriginality and cinema in an international context and will be invaluable to scholars and students in many fields including cinema studies, anthropology, critical race studies, cultural studies, and postcolonial studies.
Autobiographical writings have been a major cultural genre from antiquity to the present time. General questions of the literary as, e.g., the relation between literature and reality, truth and fiction, the dependency of author, narrator, and figure, or issues of individual and cultural styles etc., can be studied preeminently in the autobiographical genre. Yet, the tradition of life-writing has, in the course of literary history, developed manifold types and forms. Especially in the globalized age, where the media and other technological / cultural factors contribute to a rapid transformation of lifestyles, autobiographical writing has maintained, even enhanced, its popularity and importance. By conceiving autobiography in a wide sense that includes memoirs, diaries, self-portraits and autofiction as well as media transformations of the genre, this three-volume handbook offers a comprehensive survey of theoretical approaches, systematic aspects, and historical developments in an international and interdisciplinary perspective. While autobiography is usually considered to be a European tradition, special emphasis is placed on the modes of self-representation in non-Western cultures and on inter- and transcultural perspectives of the genre. The individual contributions are closely interconnected by a system of cross-references. The handbook addresses scholars of cultural and literary studies, students as well as non-academic readers.
Ghosts aren’t meant to stick around forever... Shelly and her grandmother catch ghosts. In their hair. Just like all the women in their family, they can see souls who haven’t transitioned yet; it’s their job to help the ghosts along their journey. When Shelly’s mom dies suddenly, Shelly’s relationship to ghosts—and death—changes. Instead of helping spirits move on, Shelly starts hoarding them. But no matter how many ghost cats, dogs, or people she hides in her room, Shelly can’t ignore the one ghost that’s missing. Why hasn’t her mom’s ghost come home yet? Rooted in a Cree worldview and inspired by stories about the author’s great-grandmother’s life, The Ghost Collector delves into questions of grief and loss, and introduces an exciting new voice in tween fiction that will appeal to fans of Kate DiCamillo’s Louisiana’s Way Home and Patrick Ness’s A Monster Calls.