3.5 Indigenous film and media

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 cultural identity, colonization's impacts, land connections, and community resilience. 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 authenticity 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 Alanis Obomsawin (Abenaki) and George Burdeau (Blackfeet) paved the way for Indigenous self-representation in film
• The rise of Indigenous film festivals, such as the imagineNATIVE Film + Media Arts Festival, 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 "Atanarjuat: The Fast Runner" (2001) by Zacharias Kunuk (Inuit) and "Smoke Signals" (1998) by Chris Eyre (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 "Once Were Warriors" (1994) by Lee Tamahori (Māori) and "Rhymes for Young Ghouls" (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 "Kanehsatake: 270 Years of Resistance" (1993) by Alanis Obomsawin (Abenaki) and "Our Spirits Don't Speak English" (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 "Tanna" (2015) by Martin Butler and Bentley Dean, in collaboration with the Yakel people of Vanuatu, and "The Rider" (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 "The Body Remembers When the World Broke Open" (2019) by Elle-Máijá Tailfeathers (Blackfoot/Sámi) and Kathleen Hepburn, and "The Infiltrators" (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 "Navajo Talking Picture" (1985) by Arlene Bowman (Navajo) and "Storytellers of the Pacific" (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 "Awake, A Dream from Standing Rock" (2017) by Myron Dewey (Newe-Numah/Paiute), Josh Fox, and James Spione, and "Angry Inuk" (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 "The Doctrine of Discovery: Unmasking the Domination Code" (2014) by Sheldon Wolfchild (Dakota) and Steven Newcomb (Shawnee/Lenape) and "The Condor & The Eagle" (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 "Skins" (2002) by Chris Eyre (Cheyenne/Arapaho) and "Maliglutit" (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 "Flatland" (2014) by Alethea Arnaquq-Baril (Inuit) and "How the Dog Came to the Blackfeet" (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 "Biidaaban (The Dawn Comes)" (2018) by Amanda Strong (Michif) and "Meneath: The Hidden Island of Ethics" (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 Indigenous storytelling

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