Reverse Shots: Indigenous Film and Media in an International Context

Indigenous Film and Media in an International Context
Wilfrid Laurier University Press
  • erschienen am 9. Dezember 2014
  • Buch
  • |
  • Softcover
  • |
  • 392 Seiten
978-1-55458-335-5 (ISBN)
From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to "Reverse Shots" offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway.
  • Englisch
  • Waterloo, Ontario
  • |
  • Kanada
  • Für höhere Schule und Studium
b/w illus
  • Höhe: 226 mm
  • |
  • Breite: 152 mm
  • |
  • Dicke: 25 mm
  • 522 gr
978-1-55458-335-5 (9781554583355)
1554583357 (1554583357)
weitere Ausgaben werden ermittelt
Wendy Gay Pearson is an associate professor in the Department of Women's Studies and Feminist Research at Western University in London, Ontario. Her current research project involves the impact of modes of distribution on the politics and aesthetics of Indigenous film. She is co-editing a volume on the politics of representation of Indigenous girls and women. Susan Knabe is an associate professor in both Media Studies and Womens Studies at the Western University in London, Ontario. Her research covers the construction of gender and sexuality in discourses of health and disease as well as the representation of gender, sexuality, race, and ethnicity in film and media. Her forthcoming book is titled Affective Traces: AIDS Cultural Production and the Legacy of the Holocaust.
Introduction: Dream Makers; Introduction: Globalizing Indigenous Film & Media; He Who Dreams: Reflections on an Indigenous Life in Film; Speakin' Out Blak: New & Emergent Aboriginal Filmmakers Finding Their Voices; Taking Pictures B(l)ack: The Work of Tracey Moffatt; The Journals of Knud Rasmussen: Arctic History as Post/Colonial Cinema; Re-Historicizing in Indigenous Short Film: Wayne Blair's Djarn Djarns & Black Talk; "Once upon a Time in a Land Far, Far Away": Representations of the Pre-Colonial World in Atanarjuat, Ofelas & 10 Canoes; Ka Whawhai Tanu Matou: Indigenous Television in Aotearoa/New Zealand; Aboriginal New Media Arts: A Real Cultural Practice?; In Search of "We": Caching Igloolik Video in the South; The Prince George Metis Elders Documentary Project: Matching Product with Process in New Forms of Documentary; "Whacking the Indigenous Funny Bone": Native Humour & Its Healing Powers in Drew Hayden Taylor's Redskins, Tricksters, & Puppy Stew; Situating Indigenous Knowledges: The Talking Back of Alanis Obomsawin & Shelley Niro; "I Wanted to Say How Beautiful We Are": Cultural Politics in Loretta Todd's Hands of History; Filming Indigeneity as Flanerie: Dialectic & Subtext in Terrance .Odette's Heater; Playing with Land Issues: Subversive Hybridity in The Price of Milk.
Running the spectrum from the chapter by Michael Greyeyes 'He Who Dreams: Reflections on an Indigenous Life in Film', to the healing humor from Drew Hayden Taylor's 'Redskins, Tricksters and Puppy Stew', to pre-colonial representations in 'Atanarjuat', and '10 Canoes' this volume fascinates, educates, and leaves you wanting more.... Highly recommended for all Tribal Colleges, four year colleges and universities, and any institution or research center which deals with Indigenous people.''--John D. Berry

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