000			03505nam a2200397Ki 4500
001			ocn831658244
003			OCoLC
005			20240726105342.0
008			130325s2012 nyua ob s001 0 eng d
040			_aNT _beng _erda _cNT
020			_a9781461921332 _q((electronic)l(electronic)ctronic)l((electronic)l(electronic)ctronic)ctronic bk.
043			_an-us---
050	0	4	_aPN1995 _b.N385 2012
049			_aNTA
100	1		_aHearne, Joanna. _e1
245	1	0	_aNative recognition _bindigenous cinema and the western / _cJoanna Hearne.
260			_aAlbany : _bSUNY Press, _c(c)2012.
300			_a1 online resource (xx, 408 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aThe SUNY series : horizons of cinema
520	0		_a"In Native Recognition, Joanna Hearne persuasively argues for the central role of Indigenous image-making in the history of American cinema. Across the twentieth and into the twenty-first centuries, Indigenous peoples have been involved in cinema as performers, directors, writers, consultants, crews, and audiences, yet both the specificity and range of this Native participation have often been obscured by the on-screen, larger-than-life images of Indians in the Western. Not only have Indigenous images mattered to the Western, but Westerns have also mattered to Indigenous filmmakers as they subvert mass culture images of supposedly "vanishing" Indians, repurposing the commodity forms of Hollywood films to envision Native intergenerational continuity. Through their interventions in forms of seeing and being seen in public culture, Native filmmakers have effectively marshaled the power of visual media to take part in national discussions of social justice and political sovereignty for North American Indigenous peoples. Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption."--Publisher's website.
505	0	0	_aReframing the western imaginary: James Young Deer, Lillian St. Cyr, and the "squaw man" Indian dramas -- _t"Strictly American cinemas": social protest in The vanishing American, Redskin, and Ramona -- _t"As if I were lost and finally found": repatriation and visual continuity in Imagining Indians and The return of Navajo boy -- _tImagining the reservation in House made of dawn and Billy Jack -- _t"Indians watching Indians on TV": native spectatorship and the politics of recognition in Skins and Smoke signals.
504			_a2
530			_a2 _ub
650		0	_aIndians in motion pictures.
650		0	_aIndigenous films _zUnited States.
650		0	_aWestern films _zUnited States.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=545964&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _mc2012 _QOL _R _x _8NFIC _2LOC
994			_a02 _bNT
999			_c97537 _d97537
902			_a1 _bCynthia Snell _c1 _dCynthia Snell