In this Book

summary

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.

Table of Contents

  1. Cover
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  1. Series Page, Title Page, Copyright
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  1. Contents
  2. pp. v-viii
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  1. List of Illustrations
  2. pp. ix-x
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  1. Acknowledgements
  2. pp. xi-xii
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  1. Part I: Dream Makers
  1. Introduction: Globalizing Indigenous Film and Media
  2. Wendy Gay Pearson, Susan Knabe
  3. pp. 3-40
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  1. One: He Who Dreams: Reflections on an Indigenous Life in Film
  2. Michael Greyeyes
  3. pp. 41-58
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  1. Part II: Decolonizing Histories
  1. Two: Speakin’ Out Blak: New and Emergent Aboriginal Filmmakers Finding Their Voices
  2. Ernie Blackmore
  3. pp. 61-80
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  1. Three: Taking Pictures B(l)ack: The Work of Tracey Moffatt
  2. Susan Knabe
  3. pp. 81-102
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  1. Four: The Journals of Knud Rasmussen: Arctic History as Post/Colonial Cinema
  2. Kerstin Knopf
  3. pp. 103-130
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  1. Five: Australian Indigenous Short Film as a Pedagogical Device: Introducing Wayne Blair’s The Darn Darns and Black Talk
  2. Colleen McGloin
  3. pp. 131-142
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  1. Six "Once upon a Time in a Land Far, Far Away”: Representations of the Pre-Colonial World in Atanarjuat, Ofelas, and 10 Canoes
  2. Wendy Gay Pearson
  3. pp. 143-172
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  1. Part III: Mediating Practices
  1. Seven: Ka Whawhai Tonu Mātou: Indigenous Television in Aotearoa/New Zealand
  2. Jo Smith, Sue Abel
  3. pp. 175-188
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  1. Eight: Superhighway across the Sky ... Aboriginal New Media Arts in Australia: A Remix and Email Conversation between Adam Szymanski and Jenny Fraser
  2. Jenny Fraser, Adam Szymanski
  3. pp. 189-198
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  1. Nine: On Collectivity and the Limits of Collaboration: Caching Igloolik Video in the South
  2. Erin Morton, Taryn Sirove
  3. pp. 199-218
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  1. Part IV: Documentary Approaches
  1. Ten: The Prince George Métis Elders Documentary Project: Matching Product with Process in New Forms of Documentary
  2. Stephen Foster, Mike Evans
  3. pp. 221-232
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  1. Eleven: "Whacking the Indigenous Funny Bone”: Native Humour and Its Healing Powers in Drew Hayden Taylor’s Redskins, Tricksters, and Puppy Stew
  2. Ute Lischke
  3. pp. 233-246
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  1. Twelve: Situating Indigenous Knowledges: The Talking Back of Alanis Obomsawin and Shelley Niro
  2. Maeghan Pirie
  3. pp. 247-264
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  1. Thirteen: "I Wanted to Say How Beautiful We Are”: Cultural Politics in Loretta Todd’s Hands of History
  2. Gail Vanstone
  3. pp. 265-282
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  1. Part V: Other Perspectives
  1. Fourteen: Filming Indigeneity as Flânerie: Dialectic and Subtext in Terrance Odette’s Heater
  2. Tanis MacDonald
  3. pp. 285-300
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  1. Fifteen: Playing with Land Issues: Subversive Hybridity in The Price of Milk
  2. Davinia Thornley
  3. pp. 301-314
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  1. Glossary
  2. pp. 315-318
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  1. Bibliography
  2. pp. 319-344
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  1. Index
  2. pp. 345-372
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  1. Series Titles
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Additional Information

ISBN
9781554584253
Related ISBN
9781554583355
MARC Record
OCLC
880843076
Pages
392
Launched on MUSE
2017-01-05
Language
English
Open Access
No
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