Reading Nanook's Smile: Visual Sovereignty, Indigenous Revisions of Ethnography, and Atanarjuat (The Fast Runner)

"Reading Nanook's Smile: Visual Sovereignty, Indigenous Revisions of Ethnography, and Atanarjuat (The Fast Runner)" puts ethnography and cinematic representations of Native Americans in crucial dialogue with the work of contemporary indigenous filmmakers. The author explores what it means for indigenous people "to laugh at the camera" as a tactic of what she calls "visual sovereignty," to confront the spectator with the often absurd assumptions that circulate around visual representations of Native Americans, while also flagging their involvement and, to some degree, complicity in these often disempowering structures of cinematic dominance and stereotype. She employs Atanarjuat (The Fast Runner) (2000), the first full-length feature film directed by an Inuit, Zacharias Kunuk, and produced by Igloolik Isuma Productions, Inc., a collaborative, majority Inuit production company, as her primary context for analysis to examine the ways this film is embedded within discourses about Arctic peoples that cannot be severed from the larger web of hegemonic discourses of ethnography. She does this first by discussing the pervasive images of Native Americans in ethnographic films and then by theorizing the ways that Atanarjuat intervenes into visual sovereignty as a film that successfully addresses a dual Inuit and non-Inuit audience for two different aims. More specifically, she interrogates how the Atanarjuat filmmakers strategically adjust and reframe the registers on which Inuit epistemes are considered with the twin, but not necessarily conflicting, aims of operating in the service of their home communities and forcing viewers to reconsider mass-mediated images of the Arctic.