Download Decolonizing the Lens of Power. Indigenous Films in North by Kerstin Knopf PDF

By Kerstin Knopf

This is often the 1st e-book that comprehensively examines Indigenous filmmaking in North the USA, because it analyzes intimately various consultant motion pictures by means of Canadian and US-American Indigenous filmmakers: motion pictures that contextualize the oral culture, 3 brief motion pictures, and 4 dramatic motion pictures. The publication explores how individuals of colonized teams use the medium of movie as a way for cultural and political expression and hence input the dominant colonial movie discourse and create an answering discourse. The theoretical framework is built as an interdisciplinary method, combining postcolonialism, Indigenous experiences, and picture reviews. As Indigenous individuals are progressively taking keep watch over over the imagemaking method within the quarter of movie and video, they stop being studied and defined items and turn into topics who create self-controlled photographs of Indigenous cultures. The e-book explores the translatability of Indigenous oral culture into movie, touching upon the adjustments the cultural wisdom is topic to during this strategy, together with statements of Indigenous filmmakers in this factor. It additionally asks even if there's a sure Indigenous movie perform and even if filmmakers are inclined to dissociate their paintings from dominant classical filmmaking, adapt to it, or create new movie kinds and types via converging classical movie conventions and their awake violation. This technique presupposes that Indigenous filmmakers are continuously in a few kingdom of response to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. the flicks analyzed are the line Allowance humans by means of Maria Campbell, Itam Hakim, Hopiit through Victor Masayesva, Talker through Lloyd Martell, Tenacity and Smoke indications through Chris Eyre, obese With Crooked enamel and Honey Moccasin via Shelley Niro, titanic undergo by means of Gil Cardinal, and Atanarjuat: the quick Runner via Zacharias Kunuk.

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Extra resources for Decolonizing the Lens of Power. Indigenous Films in North America. (Cross Cultures)

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34 Ralph Friar & Natasha Friar, The Only Good Indian: The Hollywood Gospel, 178. 35 Berkhofer points out that these accounts of the inhabitants of the New World tended to be contradictory and inconsistent. They featured them either as insolent, cruel, treacherous, loose/ libidinous, and living in anarchy-like communities without laws and governance, or as handsome, friendly, hospitable, brave, dignified, loving, and modest people. Indigenous cultures were measured against non-Indigenous cultures, and ‘characteristic’ Indian features were derived from aspects of European cultures that Indigenous cultures were lacking, and, vice versa, from aspects of Indigenous people that Europeans were lacking and abhorred.

32 I work with Susan Hayward’s definition of the concept of classical narrative cinema, which she equates with Hollywood cinema. Her definition covers several aspects: cinematic style serves to explain, not to obscure; the narrative is presented as reality; this filmic ‘reality’ is ideologically charged; cause and effect move the narrative along; the narrative achieves closure at the end; the narrative is psychologically, hence individually, motivated; representation of the successful completion of the oedipal trajectory is central; spatial and temporal continuity are paramount; cinematic techniques, such as shots, lighting, color, editing, sound, and mise-en-scène, must not draw attention to themselves but manufacture realism [an illusionist reality]; narrative and characters are goal-oriented; continuity is essential; the natural effect achieved through three-point lighting supports the naturalness of filmic realism; and sound serves to reinforce meaning, such as danger and romance; Hayward, Key Concepts in Cinema Studies (London & New York: Routledge, 1996): 45–49).

20 Homi K. Bhabha, The Location of Culture (London & New York: Routledge, 1994): 68. e. ” It associates the image presented with an image contained in colonial discourse/ knowledge which is assumed to be its equivalent and thus “establishes in the scopic space the illusion of the object relation. 25 Foucault makes it clear that the humanities and social sciences degrade their subjects of analysis to mere objects and reveal ‘truths’ about them which are independent of their own self-image. 26 In this sense, the analyzing and scrutinizing gaze objectifies.

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