In this Book

Visualities
summary
In recent years, works by American Indian artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Native America. This insightful collection of essays explores how identity is created and communicated through Native film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities: Perspectives on Contemporary American Indian Film and Art draws on American Indian Studies, American Studies, Film Studies, Cultural Studies, Women’s Studies, and Postcolonial Studies. Among the artists examined are Hulleah J. Tsinhnahjinnie, Eric Gansworth, Melanie Printup Hope, Jolene Rickard, and George Longfish. Films analyzed include Imprint, It Starts with a Whisper, Mohawk Girls, Skins, The Business of Fancydancing, and a selection of Native Latin films.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
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  1. Acknowledgments
  2. pp. ix-x
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  1. Preface
  2. p. xi
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  1. Introduction: Indigenous Visualities
  2. pp. xiii-xxiv
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  1. Part One: Indigenous Film Practices
  2. p. 1
  1. Visual Prophecies: Imprint and It Starts with a Whisper
  2. pp. 3-40
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  1. Indians Watching Indians on TV: Native Spectatorship and the Politics of Recognition in Skins and Smoke Signals
  2. pp. 41-72
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  1. Sherman Shoots Alexie: Working with and without Reservation(s) in The Business of Fancydancing
  2. pp. 73-93
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  1. Elusive Identities: Representations of Native Latin America in the Contemporary Film Industry
  2. pp. 95-118
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  1. Condolence Tropes and Haudenosaunee Visuality: It Starts with a Whisper and Mohawk Girls
  2. pp. 119-130
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  1. Videographic Sovereignty: Hulleah J. Tsinhnahjinnie’s Aboriginal World View
  2. pp. 131-139
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  1. Part Two: Contemporary American Indian Art
  2. p. 141
  1. Indigenous Semiotics and Shared Modernity
  2. pp. 143-160
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  1. Seeing Memory, Storying Memory: Printup Hope, Rickard, Gansworth
  2. pp. 161-188
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  1. Aboriginal Beauty and Self-Determination: Hulleah Tsinhnahjinnie’s Photographic Projects
  2. pp. 189-206
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  1. Text-Messaging Prayers: George Longfish and His Art of Communication
  2. pp. 207-222
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  1. Contributors
  2. pp. 223-225
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  1. Index
  2. pp. 227-243
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