3.5 Indigenous film and media
12 min read•august 20, 2024
Indigenous film and media have evolved from misrepresentation to self-representation. Early Hollywood portrayals relied on harmful stereotypes, but Indigenous filmmakers emerged to reclaim narrative control and authentically represent their cultures and experiences.
Indigenous cinema explores themes of , colonization's impacts, land connections, and community . Through documentaries, animation, and experimental films, Indigenous creators preserve oral histories, address contemporary issues, and push artistic boundaries while celebrating their heritage.
Indigenous film history
- Indigenous film history encompasses the evolution of representation and storytelling by and about Indigenous peoples in the medium of film
- Early representations of Indigenous peoples in Hollywood films were often inaccurate, stereotypical, and created by non-Indigenous filmmakers
- The emergence of Indigenous filmmakers in the late 20th century marked a significant shift in the control and of Indigenous narratives in film
Early representations in Hollywood
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- Hollywood films in the early to mid-20th century often portrayed Indigenous peoples as stereotypical "savages" or "noble warriors" (Westerns)
- These representations were created by non-Indigenous filmmakers and actors, lacking authentic Indigenous perspectives and cultural accuracy
- Films such as "The Vanishing American" (1925) and "Broken Arrow" (1950) exemplify the problematic depictions of Indigenous peoples in early Hollywood
Misrepresentation and stereotypes
- Indigenous characters were frequently reduced to one-dimensional stereotypes, such as the "noble savage," "Indian princess," or "bloodthirsty warrior"
- These stereotypes perpetuated harmful misconceptions about Indigenous cultures, histories, and contemporary realities
- Misrepresentation in film contributed to the marginalization and erasure of Indigenous identities and experiences
Emergence of Indigenous filmmakers
- In the 1960s and 1970s, Indigenous filmmakers began to challenge Hollywood's misrepresentations and reclaim control over their own narratives
- Pioneers like (Abenaki) and George Burdeau (Blackfeet) paved the way for Indigenous self-representation in film
- The rise of Indigenous film festivals, such as the , provided platforms for Indigenous filmmakers to showcase their work and build community
Indigenous media production
- Indigenous media production refers to the creation of films, television shows, and other media content by Indigenous peoples, often with the goal of reclaiming narrative control and representing their own stories and experiences
- Indigenous-led film projects prioritize the voices, perspectives, and creative visions of Indigenous filmmakers, actors, and communities
- Despite challenges in funding and distribution, Indigenous media production has grown significantly in recent decades, contributing to cultural revitalization and challenging dominant media narratives
Indigenous-led film projects
- Films like "" (2001) by (Inuit) and "" (1998) by (Cheyenne/Arapaho) exemplify the power of Indigenous-led storytelling
- These projects center Indigenous experiences, languages, and cultural practices, offering authentic and nuanced representations
- Indigenous-led film projects often involve collaboration with Indigenous communities, ensuring cultural accuracy and respect
Reclaiming narrative control
- By creating their own films and media content, Indigenous filmmakers are reclaiming control over the narratives and representations of their peoples
- Indigenous media production challenges the long history of misrepresentation and appropriation in mainstream media
- Reclaiming narrative control allows Indigenous peoples to tell their own stories on their own terms, promoting cultural sovereignty and self-determination
Challenges in funding and distribution
- Indigenous filmmakers often face barriers in accessing funding and distribution opportunities, as mainstream institutions may not prioritize or understand Indigenous stories
- Limited resources and support can make it difficult for Indigenous filmmakers to bring their projects to fruition and reach wider audiences
- Despite these challenges, Indigenous filmmakers continue to create groundbreaking work and build alternative networks for funding and distribution
Themes in Indigenous cinema
- Indigenous cinema explores a wide range of themes that reflect the diverse experiences, histories, and cultures of Indigenous peoples around the world
- These themes often center on issues of cultural identity, the impacts of colonization, the connection to land and environment, and the resilience and resistance of Indigenous communities
- By exploring these themes, Indigenous filmmakers challenge dominant narratives and offer new perspectives on Indigenous realities
Cultural identity and belonging
- Many Indigenous films explore questions of cultural identity and belonging, particularly in the context of colonization and assimilation policies
- Films like "" (1994) by Lee Tamahori (Māori) and "" (2013) by Jeff Barnaby (Mi'kmaq) delve into the complexities of navigating Indigenous identity in settler-colonial societies
- These films often highlight the importance of cultural practices, languages, and intergenerational connections in maintaining and asserting Indigenous identities
Impacts of colonization
- Indigenous cinema frequently addresses the ongoing impacts of colonization on Indigenous peoples, including land dispossession, cultural suppression, and intergenerational trauma
- Documentaries like "" (1993) by Alanis Obomsawin (Abenaki) and "" (2008) by Chip Richie (Muscogee Creek) expose the historical and contemporary consequences of colonial violence
- By confronting the legacies of colonization, Indigenous films contribute to processes of truth-telling, healing, and decolonization
Connection to land and environment
- The deep connection between Indigenous peoples and their ancestral lands is a central theme in many Indigenous films
- Films like "" (2015) by Martin Butler and Bentley Dean, in collaboration with the Yakel people of Vanuatu, and "" (2017) by Chloé Zhao, featuring Lakota actors and set on the Pine Ridge Reservation, showcase the spiritual, cultural, and economic significance of land for Indigenous communities
- These films often highlight the environmental knowledge and stewardship practices of Indigenous peoples, as well as the threats posed by resource extraction, development, and climate change
Resilience and resistance
- Indigenous cinema celebrates the resilience and resistance of Indigenous peoples in the face of historical and ongoing oppression
- Films like "" (2019) by Elle-Máijá Tailfeathers (Blackfoot/Sámi) and Kathleen Hepburn, and "" (2019) by Cristina Ibarra (Chicana) and Alex Rivera (Latinx) showcase Indigenous women's strength and solidarity in confronting systemic violence and injustice
- By centering stories of Indigenous resilience and resistance, these films challenge narratives of victimhood and erasure, affirming the enduring presence and power of Indigenous peoples
Indigenous documentary filmmaking
- Documentary film has been a powerful tool for Indigenous filmmakers to preserve oral histories, document contemporary issues, and engage in activism and advocacy
- Indigenous documentaries often prioritize community collaboration, cultural protocols, and the use of Indigenous languages and storytelling practices
- By centering Indigenous voices and perspectives, these films challenge dominant media narratives and contribute to processes of truth-telling, healing, and social change
Preserving oral histories
- Indigenous documentaries play a crucial role in preserving and transmitting oral histories, traditional knowledge, and cultural practices
- Films like "" (1985) by Arlene Bowman (Navajo) and "" (2007) by Vilsoni Hereniko (Rotuman) document the lives and stories of Indigenous elders, ensuring the continuity of cultural knowledge across generations
- By recording oral histories, these films also challenge the privileging of written records and Western forms of knowledge production
Documenting contemporary issues
- Indigenous documentaries often address pressing contemporary issues facing Indigenous communities, such as land rights, environmental justice, and the impacts of resource extraction
- Films like "" (2017) by Myron Dewey (Newe-Numah/Paiute), Josh Fox, and James Spione, and "" (2016) by Alethea Arnaquq-Baril (Inuit) document Indigenous-led resistance movements and challenge dominant media narratives about these issues
- By bringing Indigenous perspectives to the forefront, these films contribute to public education and advocacy around Indigenous rights and sovereignty
Intersection of activism and film
- For many Indigenous filmmakers, documentary film is a form of activism and a tool for social change
- Films like "" (2014) by Sheldon Wolfchild (Dakota) and Steven Newcomb (Shawnee/Lenape) and "" (2019) by Sophie Guerra and Clement Guerra use film to expose the historical and ongoing impacts of colonization and advocate for Indigenous rights and environmental justice
- By using film as a means of activism, Indigenous documentarians challenge the separation between art and politics, recognizing the power of storytelling to inspire change
Indigenous animation and experimental film
- Indigenous filmmakers are also pushing the boundaries of cinematic form and storytelling through animation and experimental film
- These films often incorporate traditional storytelling practices, visual aesthetics, and cultural symbolism, while subverting Western film conventions and exploring new artistic expressions
- By embracing animation and experimental film, Indigenous filmmakers are expanding the possibilities of Indigenous cinema and asserting the vitality and innovation of Indigenous art and culture
Subverting Western film conventions
- Indigenous animation and experimental films often challenge and subvert the conventions of Western cinema, such as linear narratives, individualistic characters, and the separation of human and non-human worlds
- Films like "" (2002) by Chris Eyre (Cheyenne/Arapaho) and "" (2016) by Zacharias Kunuk (Inuit) and Natar Ungalaaq (Inuit) reimagine classic Hollywood genres like the crime drama and the Western from Indigenous perspectives, critiquing colonial violence and asserting Indigenous agency
- By subverting Western film conventions, these films create space for Indigenous ways of seeing and being, challenging the hegemony of colonial storytelling practices
Incorporating traditional storytelling
- Indigenous animation and experimental films often draw upon traditional storytelling practices, such as oral narratives, creation stories, and cultural teachings
- Films like "" (2014) by Alethea Arnaquq-Baril (Inuit) and "" (2018) by Wendy Red Star (Apsáalooke) use animation to bring traditional stories to life, celebrating the richness and resilience of Indigenous oral traditions
- By incorporating traditional storytelling, these films assert the continuity and relevance of Indigenous knowledge systems, even as they explore new artistic forms
Exploring new artistic expressions
- Indigenous animation and experimental films showcase the creativity and innovation of Indigenous artists, who are exploring new ways of expressing Indigenous identities, cultures, and experiences
- Films like "" (2018) by Amanda Strong (Michif) and "" (2021) by Terril Calder (Métis) use stop-motion animation and virtual reality to create immersive, visually stunning worlds that challenge viewers' perceptions and invite new ways of engaging with Indigenous stories
- By pushing the boundaries of cinematic form and technology, these films demonstrate the vitality and adaptability of Indigenous art and storytelling in the contemporary world
Indigenous film festivals and awards
- Indigenous film festivals and awards play a crucial role in celebrating Indigenous excellence in film, building community and networks among Indigenous filmmakers, and advancing the recognition and support of Indigenous cinema
- These festivals and awards provide important platforms for Indigenous filmmakers to showcase their work, connect with audiences and industry professionals, and assert the value and diversity of
Celebrating Indigenous excellence
- Indigenous film festivals and awards recognize and celebrate the outstanding achievements of Indigenous filmmakers, actors, and other creative professionals
- Festivals like imagineNATIVE Film + Media Arts Festival in Toronto, Canada, and the Sundance Institute's Indigenous Program showcase the best in contemporary Indigenous cinema from around the world
- By celebrating Indigenous excellence, these festivals and awards challenge the marginalization and erasure of Indigenous peoples in mainstream film industries and assert the value and vitality of Indigenous creative expression
Building community and networks
- Indigenous film festivals and awards provide opportunities for Indigenous filmmakers to connect with each other, share knowledge and resources, and build networks of support and collaboration
- These events often include workshops, panels, and mentorship programs that foster the development of emerging Indigenous talent and strengthen the Indigenous film community
- By building community and networks, Indigenous film festivals and awards contribute to the growth and sustainability of Indigenous cinema, creating spaces for Indigenous filmmakers to thrive and support each other
Advancing Indigenous film recognition
- Indigenous film festivals and awards play a critical role in advancing the recognition and support of Indigenous cinema within the broader film industry and society
- By showcasing Indigenous films to diverse audiences, these events help to challenge stereotypes, promote cultural understanding, and generate interest in Indigenous stories and perspectives
- The success and visibility of Indigenous films at these festivals and awards can also lead to increased funding, distribution, and mainstream recognition for Indigenous cinema, contributing to the long-term growth and sustainability of the field
Impact of Indigenous media
- Indigenous media, including film, television, and digital content, has a profound impact on both Indigenous and non-Indigenous audiences, contributing to processes of education, inspiration, and cultural revitalization
- By representing Indigenous stories, cultures, and perspectives, Indigenous media challenges dominant narratives, promotes cross-cultural understanding, and supports the transmission of Indigenous knowledge and values across generations
Educating non-Indigenous audiences
- Indigenous media plays a crucial role in educating non-Indigenous audiences about Indigenous histories, cultures, and contemporary realities
- Films like "Reel Injun" (2009) by Neil Diamond (Cree), Catherine Bainbridge, and Jeremiah Hayes, and "Rumble: The Indians Who Rocked the World" (2017) by Catherine Bainbridge and Alfonso Maiorana, provide important correctives to the misrepresentations and erasures of Indigenous peoples in mainstream media
- By promoting cultural understanding and challenging stereotypes, Indigenous media contributes to the development of more respectful and equitable relationships between Indigenous and non-Indigenous peoples
Inspiring Indigenous youth
- Indigenous media also has a powerful impact on Indigenous youth, providing positive representations and role models that inspire pride, creativity, and resilience
- Films like "Whale Rider" (2002) by Niki Caro and "The Grizzlies" (2018) by Miranda de Pencier, featuring Indigenous youth protagonists, celebrate the strength and potential of Indigenous young people, even in the face of significant challenges
- By seeing themselves represented on screen in complex and empowering ways, Indigenous youth are encouraged to embrace their cultural identities, pursue their dreams, and become leaders in their communities
Contributing to cultural revitalization
- Indigenous media plays a vital role in the revitalization and transmission of Indigenous languages, cultural practices, and knowledge systems
- Films like "Ixcanul" (2015) by Jayro Bustamante, featuring dialogue in the Kaqchikel language, and "Sgaawaay K'uuna (Edge of the Knife)" (2018) by Gwaai Edenshaw and Helen Haig-Brown, the first feature film in the Haida language, contribute to the preservation and promotion of Indigenous languages and cultures
- By creating content in Indigenous languages and showcasing cultural practices, Indigenous media supports the intergenerational transmission of Indigenous knowledge and strengthens the cultural identity and resilience of Indigenous communities
Future of Indigenous film and media
- The future of Indigenous film and media is marked by the emergence of new generations of Indigenous filmmakers, the expansion of Indigenous cinema's international reach, and the embrace of new technologies and platforms for storytelling and distribution
- As Indigenous media continues to grow and evolve, it has the potential to transform the broader media landscape, challenge colonial power structures, and contribute to the resurgence and self-determination of Indigenous peoples around the world
Emerging Indigenous filmmakers
- The future of Indigenous cinema is being shaped by a new generation of Indigenous filmmakers who are pushing the boundaries of storytelling and representation
- Emerging filmmakers like Sky Hopinka (Ho-Chunk/Pechanga), Danis Goulet (Cree/Métis), and Tracey Deer (Mohawk) are exploring innovative cinematic forms, tackling urgent social and political issues, and asserting the diversity and complexity of Indigenous experiences
- As these filmmakers continue to develop their craft and gain recognition, they are poised to make significant contributions to the growth and evolution of Indigenous cinema
Expanding international reach
- Indigenous film and media are increasingly reaching international audiences, thanks to the success of Indigenous films at major film festivals, the growth of Indigenous film festivals around the world, and the global distribution of Indigenous content through streaming platforms
- Films like "Roma" (2018) by Alfonso Cuarón, featuring Mixtec and Zapotec actresses, and "Vai" (2019), a collaborative film by nine Indigenous women filmmakers from across the Pacific, have garnered critical acclaim and introduced global audiences to the richness and diversity of Indigenous storytelling
- As Indigenous cinema expands its international reach, it has the potential to build global solidarity among Indigenous peoples, challenge dominant media narratives, and promote cross-cultural understanding and respect
Embracing new technologies and platforms
- Indigenous filmmakers are also embracing new technologies and platforms, such as virtual reality, interactive media, and social media, to create immersive and participatory storytelling experiences
- Projects like "Wanisinowin | Lost" (2021) by Candy Renae Fox (Cree) and Melaw Nakehk'o (Dene), a virtual reality film exploring the impact of residential schools, and "The Next Guardian" (2017) by Arun Bhattarai and Dorottya Zurbó, an interactive documentary about the transmission of cultural knowledge in a Bhutanese village, demonstrate the potential of new technologies to engage audiences and promote Indigenous perspectives
- By adapting to and innovating with new technologies and platforms, Indigenous filmmakers are ensuring the continued relevance and accessibility of Indigenous stories in a rapidly changing media landscape
Key Terms to Review (43)
Academy Awards - Best Documentary Feature: The Academy Awards - Best Documentary Feature is an accolade presented by the Academy of Motion Picture Arts and Sciences to recognize outstanding documentary films. This award aims to highlight the importance of storytelling through non-fiction cinema, promoting awareness of real-world issues and cultures, including those of Indigenous communities, within the film industry.
Alanis Obomsawin: Alanis Obomsawin is a renowned Abenaki filmmaker, singer, and activist, recognized for her contributions to Indigenous film and media. She has created over 50 films that reflect the experiences, histories, and cultures of Indigenous peoples in Canada. Her work often addresses themes of social justice, cultural identity, and the importance of storytelling within Indigenous communities.
American Indian Film Festival: The American Indian Film Festival is an annual event that celebrates Indigenous cinema, showcasing films made by and about Native Americans. This festival aims to promote cultural representation and storytelling, providing a platform for Indigenous filmmakers to share their perspectives and experiences while challenging stereotypes and misconceptions often found in mainstream media.
Angry inuk: The term 'angry inuk' refers to a significant cultural expression within Indigenous film and media, particularly representing the frustrations and challenges faced by Inuit communities due to colonialism, environmental degradation, and social injustices. This concept highlights the role of storytelling as a medium for voicing dissent and reclaiming agency in the face of systemic oppression. It serves as a powerful commentary on identity, resilience, and the ongoing struggles of Indigenous peoples.
Atanarjuat: the fast runner: Atanarjuat: The Fast Runner is a groundbreaking Indigenous film released in 2001, directed by Zacharias Kunuk. The film tells the traditional Inuit legend of Atanarjuat, a young man who must overcome various challenges, including betrayal and supernatural forces, to fulfill his destiny. It is significant for its use of the Inuktitut language and its portrayal of Inuit culture, representing a pivotal moment in Indigenous cinema and media.
Authenticity: Authenticity refers to the quality of being genuine, true, and original, especially in relation to cultural expression and identity. It connects deeply to the representation of cultures, particularly Indigenous cultures, in media, where the portrayal must align with the real experiences, beliefs, and practices of the people it represents. This concept raises important questions about who gets to tell these stories and how accurately they reflect the lived realities of Indigenous communities.
Awake, A Dream from Standing Rock: Awake, A Dream from Standing Rock is a documentary film that chronicles the events surrounding the Standing Rock protests against the Dakota Access Pipeline in 2016. The film captures the perspectives of Indigenous activists, allies, and the broader community as they come together to defend their water, land, and rights. It highlights the powerful intersection of environmental activism and Indigenous sovereignty, emphasizing the role of film in storytelling and cultural expression within Indigenous communities.
Biidaaban (the dawn comes): Biidaaban, meaning 'the dawn comes,' signifies a new beginning or awakening. This term resonates deeply within Indigenous film and media as it often embodies themes of resurgence, resilience, and cultural revitalization, representing the hope and renewal of Indigenous identities and stories in contemporary contexts.
Chris Eyre: Chris Eyre is a prominent Native American filmmaker, known for his contributions to Indigenous cinema and representation in film and media. As a member of the Cheyenne and Arapaho Tribes, he has played a significant role in highlighting Native American stories and perspectives, particularly through his acclaimed films that challenge stereotypes and provide authentic portrayals of Indigenous life.
Collaborative storytelling: Collaborative storytelling is a process where multiple individuals or communities come together to create and share narratives, often blending different perspectives and experiences. This approach not only emphasizes the importance of community involvement in the storytelling process but also seeks to empower marginalized voices by allowing them to actively participate in shaping their own narratives. Through collaborative storytelling, diverse stories can emerge, reflecting a rich tapestry of cultural identities and experiences, particularly within Indigenous contexts.
Colonialism: Colonialism is a practice where a powerful country establishes control over a foreign territory and its people, often exploiting resources and imposing cultural values. This process typically involves the settlement of colonizers, subjugation of the local population, and transformation of local economies, societies, and environments to benefit the colonizing power. The effects of colonialism have lasting impacts, particularly evident in how indigenous voices are represented in film and media today.
Community-based filmmaking: Community-based filmmaking is a collaborative process that involves local communities in the creation of film and media projects, ensuring that their voices, stories, and cultural contexts are authentically represented. This approach emphasizes empowerment, allowing community members to take control over their narratives and fostering a sense of ownership over the film's content and production. It often serves as a tool for social change, cultural preservation, and raising awareness about issues relevant to the community.
Critical Race Theory: Critical race theory (CRT) is an intellectual movement and framework that examines the ways in which race and racism intersect with other forms of social stratification and impact society. It seeks to understand how systemic racism is embedded within legal systems and institutions, and how these structures perpetuate racial inequalities. This theory encourages critical examination of law, policy, and cultural practices to reveal and challenge power dynamics.
Cultural appropriation: Cultural appropriation is the act of taking or using elements from one culture by members of another culture, often without permission or understanding. This practice can lead to a distortion of the original meaning and significance of cultural symbols, particularly when a dominant culture appropriates aspects from a marginalized or oppressed culture. It raises issues of power dynamics, representation, and respect in the context of cultural exchange.
Cultural Identity: Cultural identity refers to the shared characteristics, beliefs, practices, and values that define a group and distinguish it from others. It is shaped by factors such as history, language, art, and social structures, allowing individuals to connect with their heritage and community while expressing their unique experiences within a larger societal context.
Decolonizing Cinema: Decolonizing cinema refers to the process of challenging and transforming the dominant narratives, practices, and structures in filmmaking that perpetuate colonial ideologies and representations. It emphasizes the importance of Indigenous voices, stories, and perspectives in film and media, aiming to reclaim cultural identity and promote self-determination for Indigenous peoples. This approach seeks to counteract the historical marginalization of Indigenous cultures in mainstream media by creating spaces for authentic representation and diverse storytelling.
Flatland: Flatland refers to a two-dimensional world that represents a metaphorical space where complex identities and narratives are often simplified or ignored. In the context of Indigenous film and media, flatland serves as a critique of the reductionist views that fail to capture the depth and diversity of Indigenous experiences and cultures. This term highlights the importance of multidimensional storytelling that encompasses the rich histories, traditions, and contemporary realities of Indigenous peoples.
How the Dog Came to the Blackfeet: This narrative details the origin story of how dogs were introduced to the Blackfeet Nation, illustrating their significance in both cultural and practical contexts. The story often highlights themes of companionship, survival, and the interconnectedness of humans and animals, emphasizing the deep respect Indigenous cultures have for all living beings.
Imaginenative film + media arts festival: The imaginenative film + media arts festival is a significant cultural event that celebrates Indigenous film and media arts, showcasing the work of Indigenous filmmakers, artists, and creators. This festival aims to promote and elevate Indigenous voices in the film industry, providing a platform for storytelling that reflects the diverse experiences and identities of Indigenous peoples. It plays a crucial role in fostering understanding and appreciation of Indigenous cultures through various forms of media, including film, video, and digital arts.
Indigenous storytelling: Indigenous storytelling refers to the traditional oral narratives and artistic expressions that convey the history, culture, and values of Indigenous peoples. These stories serve as a vital means of preserving cultural identity and passing down knowledge across generations, often incorporating elements of spirituality, nature, and community.
Kanehsatake: 270 years of resistance: Kanehsatake: 270 Years of Resistance is a documentary film that chronicles the long-standing struggle of the Kanien'kehá:ka (Mohawk) community against colonialism and oppression, particularly focusing on the events surrounding the 1990 Oka Crisis in Quebec. This term highlights the resilience and activism of Indigenous peoples in defending their rights, land, and culture against systemic injustices, while also shedding light on the role of film as a powerful medium for Indigenous storytelling and cultural expression.
Maliglutit: Maliglutit is a term derived from the Inuit language that translates to 'the act of looking back' or 'to look back.' In the context of Indigenous film and media, it represents a thematic exploration of memory, identity, and the cultural significance of storytelling in preserving history. This concept is crucial for understanding how Indigenous filmmakers use cinematic narratives to reflect on their past, reclaim their identities, and address contemporary issues within their communities.
Meneath: the hidden island of ethics: Meneath refers to a conceptual space that embodies ethical frameworks and moral reasoning within Indigenous cultures. This idea highlights the importance of storytelling, community values, and cultural practices that shape ethical behavior and decision-making processes. Meneath serves as a metaphorical landscape where ethical dilemmas are navigated, emphasizing a collective understanding of right and wrong informed by ancestral wisdom and lived experiences.
Michelle Latimer: Michelle Latimer is a Canadian filmmaker, writer, and actor known for her work that explores Indigenous themes and narratives. She has gained recognition for her ability to bring Indigenous stories to a broader audience through innovative storytelling and authentic representation in film and media.
Native American Cinema: Native American cinema refers to films and media produced by Native American filmmakers that reflect the cultures, experiences, and perspectives of Indigenous peoples in North America. This genre seeks to counteract stereotypical portrayals of Native Americans in mainstream media by showcasing authentic stories, characters, and cultural practices that resonate with Indigenous identities. Through diverse storytelling techniques and a focus on representation, Native American cinema serves as a vital platform for expressing the complexities of contemporary Native life.
Navajo Talking Picture: Navajo Talking Picture refers to a groundbreaking film genre that emerged in the late 20th century, combining traditional Navajo storytelling with modern cinematic techniques. This genre serves as a platform for Indigenous voices and perspectives, presenting narratives that resonate with Navajo culture and community while using both Navajo and English languages to bridge cultural gaps.
Once Were Warriors: Once Were Warriors is a powerful New Zealand film that depicts the struggles of a Māori family facing poverty, violence, and the impacts of colonization. This film, released in 1994, serves as a critical lens into the challenges faced by Indigenous communities, highlighting themes of identity, resilience, and the quest for belonging in a contemporary setting. It is significant within Indigenous film and media as it showcases authentic Māori voices and stories while addressing broader issues of social justice and cultural representation.
Our spirits don't speak English: This phrase reflects the idea that Indigenous cultures possess unique languages and ways of knowing that transcend English or any colonial language. It emphasizes the significance of traditional knowledge, spiritual beliefs, and cultural identity that cannot be fully expressed or understood through Western linguistic frameworks. This concept highlights the importance of Indigenous storytelling and media as a means to convey experiences, values, and identities rooted in ancestral languages and traditions.
Postcolonial theory: Postcolonial theory is an analytical framework that examines the cultural, political, and economic impacts of colonialism and imperialism on societies and individuals. It seeks to understand how colonial histories shape identities, power dynamics, and cultural expressions, particularly in formerly colonized nations. This perspective is crucial for unpacking narratives within various forms of media and recognizing the diverse identities that emerge in postcolonial contexts.
Resilience: Resilience refers to the ability of individuals, communities, or cultures to adapt and recover from adversity, challenges, or trauma. This concept emphasizes strength in overcoming obstacles and is particularly significant in understanding how cultural expressions, such as film and music, reflect and reinforce the enduring spirit of a group. Resilience can manifest through storytelling, artistic innovation, and the preservation of traditions that affirm identity and foster a sense of belonging despite hardships.
Rhymes for Young Ghouls: Rhymes for Young Ghouls is a 2013 Canadian film directed by Jeff Barnaby that tells the story of a young Indigenous girl navigating life in a small community while facing the challenges of systemic oppression and personal trauma. The film blends elements of horror, drama, and cultural reflection, providing a lens into the struggles and resilience of Indigenous youth in contemporary society.
Skins: In the context of Indigenous film and media, 'skins' refers to the cultural and social identities embodied by Indigenous peoples, particularly how these identities are portrayed, represented, and understood through visual storytelling. This concept emphasizes the importance of cultural authenticity and the significance of representation in media, illustrating the connection between identity, community, and narrative.
Smoke signals: Smoke signals are a traditional method of communication used by various Indigenous peoples, where smoke is produced from a fire to convey messages over long distances. This practice, often associated with Native American culture, symbolizes a form of non-verbal communication that can signify warnings, greetings, or other important information. It represents an integral aspect of Indigenous cultural practices and showcases the resourcefulness and adaptability of these communities in their historical contexts.
Storytellers of the Pacific: Storytellers of the Pacific are individuals or groups who convey cultural narratives, oral traditions, and historical accounts through various forms of storytelling, such as performance, literature, and visual art. These storytellers play a vital role in preserving and sharing the rich cultural heritage of Pacific Indigenous communities, often using their art to address contemporary issues while connecting past, present, and future.
Sundance film festival awards: The Sundance Film Festival Awards are accolades presented annually at the Sundance Film Festival, one of the most prestigious independent film festivals in the world. These awards recognize outstanding achievements in filmmaking, particularly highlighting innovative and diverse storytelling from independent filmmakers, including those from Indigenous communities. Winning a Sundance award can significantly elevate a filmmaker's career and bring attention to underrepresented narratives.
Tanna: Tanna is an Indigenous term primarily used in the context of Pacific Island cultures, particularly among the people of Vanuatu. It refers to a traditional form of storytelling that plays a crucial role in preserving oral history, culture, and identity within these communities. Through the art of tanna, stories are shared, conveying moral lessons, historical narratives, and the essence of cultural heritage, making it a vital component of Indigenous film and media representation.
The body remembers when the world broke open: This phrase refers to the deep, often unconscious memories and emotional responses held within the body that are linked to trauma, loss, and cultural dislocation experienced by Indigenous peoples. It emphasizes how personal and collective histories of colonization, violence, and cultural loss are embodied and manifest in physical sensations, behaviors, and expressions in Indigenous film and media, serving as a powerful vehicle for storytelling and healing.
The condor & the eagle: The condor and the eagle are powerful symbols in Indigenous cultures, representing different aspects of identity, spirituality, and connection to the land. The condor is often associated with the Andean cultures of South America, symbolizing strength, freedom, and the connection to the earth. The eagle, on the other hand, is a prominent figure in many North American Indigenous cultures, embodying spiritual power, vision, and the connection to the sky. Together, these birds signify a balance between earth and sky, as well as unity among different Indigenous nations.
The Doctrine of Discovery: Unmasking the Domination Code: The Doctrine of Discovery refers to a set of legal and political principles that justified European colonial expansion and the subjugation of Indigenous peoples. This concept, rooted in 15th-century papal bulls and European law, essentially asserted that lands not inhabited by Christians were available for discovery and colonization. In the context of Indigenous film and media, this doctrine is critical as it shapes narratives around Indigenous identity, representation, and the ongoing impacts of colonialism on Native cultures.
The infiltrators: The infiltrators refers to a group of individuals, often portrayed in Indigenous film and media, who engage with or challenge dominant narratives by integrating themselves within mainstream culture or institutions. This concept emphasizes the complexities of identity and representation, as these individuals often navigate dual identities and the tensions that arise from straddling both Indigenous and non-Indigenous worlds.
The rider: The rider refers to a narrative device often used in Indigenous film and media that signifies a character or element which embodies the duality of identity, culture, and experience. This term connects to the broader themes of storytelling in Indigenous cinema, where characters often navigate between traditional values and contemporary challenges, highlighting their complex identities.
Visual sovereignty: Visual sovereignty refers to the right of Indigenous peoples to control how they are represented and depicted in visual media. This concept emphasizes the importance of self-representation and challenges the dominant narratives created by outsiders that often misrepresent or stereotype Indigenous cultures. By asserting visual sovereignty, Indigenous creators reclaim their narratives and offer authentic portrayals that reflect their own identities and experiences.
Zacharias Kunuk: Zacharias Kunuk is an Inuit filmmaker and artist, best known for his groundbreaking work in Indigenous cinema, particularly for the film 'Atanarjuat: The Fast Runner'. His films often focus on Inuit culture, traditions, and stories, contributing significantly to the representation of Indigenous narratives in the film industry. Kunuk’s work not only reflects the richness of Inuit heritage but also challenges stereotypes and promotes understanding of Indigenous identities.