Relevant bibliographies by topics / Indigenous film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Indigenous film'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Indigenous film.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Indigenous film"

1

Chishi, Aviholi. "Highland Film Club: Connecting People and Cultures through Film." Highlander Journal 3, no. 2 (April 27, 2024): 142–46. https://doi.org/10.5281/zenodo.11002352.

Full text
Abstract:
Based at the Highland Institute in Kohima, The Highland Film Club, launched in February 2023, shows a variety of films by indigenous and non-indigenous filmmakers on the last Friday of everymonth. The films, usually documentaries and feature lms, from all around the world feature a range of topics, including environmental stewardship, indigenous culture and knowledge and social issues. Wherever possible, the film director is invited to attend, in person, or online, and the lively discussion after the film is a key part of the event.
APA, Harvard, Vancouver, ISO, and other styles
2

Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.

Full text
Abstract:
How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.
APA, Harvard, Vancouver, ISO, and other styles
3

Molloy, Missy. "Indigenous Screen Sovereignty in the Genre Films of Lisa Jackson, Elle-Máijá Tailfeathers and Danis Goulet." Film-Philosophy 29, no. 2 (June 2025): 425–51. https://doi.org/10.3366/film.2025.0312.

Full text
Abstract:
This article argues that Lisa Jackson’s Savage (2009), Elle -Máijá Tailfeathers’ Bloodland (2009) and A Red Girl’s Reasoning (2012), and Danis Goulet’s Night Raiders (2021) exemplify an Indigenous feminist cinema that has rapidly gained traction by innovatively mobilizing genre to frame specific historical injustices and their residual challenges in the present. These filmmakers’ considerable successes attest to the visibility of a transnational collective of Indigenous women filmmakers currently supporting each other to take advantage of unprecedented industrial opportunities. Their films are distinctly feminist in that they draw attention to Indigenous women’s experiences in heteropatriarchal and colonial social systems. Moreover, Jackson, Tailfeathers and Goulet harness recognizable conventions of genre, in particular horror, to express Indigenous feminist concerns in a visual and narrative language legible to a wide range of viewers. Analysis reveals the overhaul of well-worn storytelling devices to restore pride of place in decolonial authorial maneuvers that the article links to a network of concepts that Indigenous film scholars and practitioners have developed to assert and defend narrative sovereignty, which has evolved considerably from its “nothing by us without us” origins. Provocative examples of the new terrain of Fourth Cinema, Savage, Bloodland, A Red Girl’s Reasoning and Night Raiders demonstrate the vitality and diversity of Indigenous feminist genre cinema’s strong claim to narrative sovereignty.
APA, Harvard, Vancouver, ISO, and other styles
4

Sand, Stine Agnete. "‘Call the Norwegian embassy!’: The Alta conflict, Indigenous narrative and political change in the activist films The Taking of Sámiland and Let the River Live." Journal of Scandinavian Cinema 12, no. 1 (March 1, 2022): 57–70. http://dx.doi.org/10.1386/jsca_00064_1.

Full text
Abstract:
In the 1970s, Norway had not officially acknowledged their Indigenous population, the Sámi. In the following decade, two activist films, Let the River Live (Greve 1980) and The Taking of Sámiland (Eriksen and Tannvik 1984), focused on the Alta conflict ‐ protests against the construction of a power plant in Sámi territory ‐ Indigenous rights and colonial processes. Inspired by discussions concerning documentary, activism and decolonialism, this article investigates how the films frame Sámi interests and challenge perceptions of the Norwegian state. Because both films are collaborations across ethnic boundaries, they also challenge the supposed insider/outsider perspective of Sámi and Indigenous film, offering decolonial narratives by centring on Indigenous voices and experiences, confronting the idea of Norway as homogenous and representing the state as a colonial oppressor. They represent a political turning point that has changed politics, film production and collective memory.
APA, Harvard, Vancouver, ISO, and other styles
5

Watchman, Renae. "Teaching Indigenous Film through an Indigenous Epistemic Lens." Studies in American Indian Literatures 34, no. 1-2 (March 2022): 112–34. http://dx.doi.org/10.1353/ail.2022.0009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ebanks Schlums, Debbie, Adrian Kahgee, and Rebeka Tabobondung. "Indigenous and Migrant Embodied Cartographies." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 48–61. http://dx.doi.org/10.32920/ifmj.v2i1.1531.

Full text
Abstract:
The Odeimin Runners Club is an Indigenous and Black-Persons-of-Colour (IBPOC) media arts collective (the “Collective”) creating an online story map using an open-source satellite mapping platform. By tracing activities and connections in our engagements with each other and our communities, our counter-mapping project re-traces trade and ceremonial routes between the north of Turtle Island and the Caribbean archipelago, linking stories, videos and artworks to traditional territories. This paper addresses the process of a pilot project making three 16mm experimental films. Process cinema methodologies that incorporate plants and organic materials in film processing were applied in the first phase of the project to produce three short films using Bolex film cameras. The films are themed on human survival, land connection, “rematriation” and BIPOC counter-mapping, threading our knowledge and stories together as we visit each other’s territories. In the making, Indigenous and performative cartographic methods were also used to map the inter-relations between the histories and futures of the land. An interactive website was created to integrate these methodologies while giving public access to the films during online exhibitions. The interactivity of the platform establishes connections between the films and filmmakers, both formally and thematically, wherein sharing traditional wisdom, imparting important knowledge, and offering support and strength to one another, facilitate the navigation of current political and environmental instabilities facing the authors’ communities. The authors conclude by suggesting future explorations aimed at building an interactive online mapping experience for communities to deepen and widen connections between their respective communities.
APA, Harvard, Vancouver, ISO, and other styles
7

Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (June 2, 2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.

Full text
Abstract:
This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, short Jesus films in Zimbabwe have manifested different representations of Jesus from the pervasive European image of Jesus that is perpetuated by The Jesus Film. This research is particularly relevant to current trends in media and technology, as the indigenous, short Jesus films are being distributed via mobile phones in Zimbabwe.
APA, Harvard, Vancouver, ISO, and other styles
8

Frey, Aline. "Resisting Invasions: Indigenous Peoples and Land Rights Battles in Mabo and Terra Vermelha." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.

Full text
Abstract:
http://dx.doi.org/10.5007/2175-8026.2016v69n2p151This article examines two feature films, focusing on the link between Indigenous cinema, environmental preservation and land rights. The first film is Mabo (2012) directed by Aboriginal filmmaker Rachel Perkins. It centres on a man’ legal battle for recognition of Indigenous land’ ownership in Australia. The second film is Terra Vermelha (Birdwatchers, Marco Bechis, 2008), which centres on the violence endured by a contemporary Brazilian Indigenous group attempting to reclaim their traditional lands occupied by agribusiness barons. Based on comparative analysis of Mabo and Terra Vermelha, this article discusses the similar challenges faced by Indigenous nations in these two countries, especially the colonial dispossession of their ancestral territories and the postcolonial obstacles to reclaim and exercise self-determination over them.
APA, Harvard, Vancouver, ISO, and other styles
9

H Bickford, Sonja, and Michelle Warren. "Informed Change: Exploring the Use of Persuasive Communication of Indigenous Cultures Through Film Narratives." Informing Science: The International Journal of an Emerging Transdiscipline 23 (2020): 107–18. http://dx.doi.org/10.28945/4635.

Full text
Abstract:
Aim/Purpose: There is a need to find a way to utilize narrative storytelling in film to make students more aware of the impacts of global problems and how they are perceived. Background: Two films from the year 2015 from two very different places in the world explore the encroachment and secondary effects of urban civilization upon indigenous cultures. Methodology: An interpretive, qualitative, methodology was used in addressing and discussing the use of these two films as a persuasive communication teaching aid. Contribution: This paper offers an approach to using narratives of films on indigenous issues in education to inform students about real-world issues and the wide impacts of those on various cultures and populations. Findings: Through the discussion of the two films, we suggest that using films with indigenous themes is beneficial to a course curriculum in a variety of subjects from communication to history and politics, to help students visualize the problems at hand. Anecdotally, the authors note that students are more engaged and willing to discuss topics if they have watched films or clips that deal with those topics than if they have simply read about them. Recommendation for Researchers: Technology and use of visuals are used as teaching tools in a variety of fields. Film narratives can be used as a teaching tool in multiple fields and provide insight about a variety of ideas. Identifying films such as those with indigenous themes provides an example of how one film can bring up multiple, real-world, topics and through led discussion student reflection can potentially lead to self-insights and have lasting impacts. Future Research: Additional research and assessment can be done on the impact of teaching with films and their compelling story telling of issues, and what types of questions should be asked to maximize learning and the impact of film narratives.
APA, Harvard, Vancouver, ISO, and other styles
10

Janzen, Rebecca. "El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s." Studies in Spanish & Latin-American Cinemas 18, no. 2 (June 1, 2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.

Full text
Abstract:
This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same director. This article expands on the recognized relationship between this film and the director’s oeuvre. It demonstrates that the problematic portrayal of relationships between the protagonists and Indigenous and female characters relates to its historical context and other films from the time period. In particular, it shows that these interactions correspond with some of the ways that the Mexican state and the countercultural movement adopted paternalistic views of Indigenous people and replicated patriarchal relationships between men and women.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Indigenous film"

1

Waititi, Kahurangi Rora. "Applying Kaupapa Māori Processes to Documentary Film." The University of Waikato, 2007. http://hdl.handle.net/10289/2437.

Full text
Abstract:
This thesis explores the application of Kaupapa Māori processes to documentary filmmaking through practiced-led research. The need for this research came to light through the experience of witnessing unacceptable behaviour shown by film crews towards kaumātua who were attending the 2006 28th Māori Battalion Reunion. In reflecting on this experience and considering my own filming experience as a person with a Te Ao Māori background, the basis for this argument was conceived. This thesis argues that there are alternative ways in which filming can be conducted by considering processes that already exist within Māori practices and philosophies. This Thesis, therefore, investigates alternative processes of filming that have developed from a Kaupapa Māori perspective through practical filming experience. An historical overview of the relationship between Māori, media and filming practices have been provided to give context to this discussion. The application of Kaupapa Māori processes to film was considered through the use of Marae protocol and philosophies. The application of these concepts was supported by the creative research which was utilised by referencing specific examples. The reader is, therefore, instructed to refer to the DVD in the front of the thesis as referenced in the written text.
APA, Harvard, Vancouver, ISO, and other styles
2

Miller, Heather Anne. "Tonto and Tonto speak an indigenous based film theory /." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/miller/MillerH0506.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Waters, Marcus Wollombi. "Contemporary Urban Indigenous ‘Dreamings’: Interaction, Engagement and Creative Practice." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366411.

Full text
Abstract:
This exegesis contextualises my doctoral project — the writing of a feature film script, Kick up Dust — within contemporary academic discourses on Aboriginal subjectivity. Kick up Dust explores how Indigenous people identify and debate the nature of their own Aboriginal consciousness. The script is written in opposition to the way non-Indigenous conceptions of Indigeneity (in popular culture, the mass media, and educational institutions) have historically misrepresented and characterised Indigenous peoples, without regard to their individuality, through stereotyped images that reside in the popular imagination. Through the vehicle of the exegesis, I explore possibilities for a new theoretical and conceptual framework for an Indigenous pedagogy that does not rely on notions of cultural identity based in historical essentialist constructs - fantasies of exclusivity, cultural marginality, physicality and morality (Paradies, 2006) — to create a binary oppositional relationship between Indigenous and non-Indigenous scholarship. While this may have worked in the past to create an effective political community, it has created a situation whereby Indigenous people whose lived realities and subjectivities do not align with these essentialising fantasies are vulnerable to accusations of inauthenticity (i.e., of not being ‘real’ blackfellas; of not being seen as an authentic Aboriginal) (Paradies, 2006).<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Humanities<br>Arts, Education and Law<br>Full Text
APA, Harvard, Vancouver, ISO, and other styles
4

Shreve, Adam Terrence. "Framing the sacred : an analysis of religious films in Zimbabwe." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22006.

Full text
Abstract:
This is a study of the production, content, distribution, and reception of different religious films in Zimbabwe, with an emphasis on the audience’s initial reception of the films. Informants’ self-identified religious beliefs and their reception of these selected films are analyzed primarily by using qualitative methods to understand better the interplay between film and religion in Zimbabwe. The films studied in this research are The Jesus Film (1979) created by Campus Crusade for Christ and indigenous, short Jesus films created locally in Zimbabwe in 2012. In order to answer the central research questions of this study, two main approaches are employed: the first is a holistic approach to the analysis of these films. The primary question within this approach is: in what ways do the production, content, and distribution of The Jesus Film and indigenous, short Jesus films affect the reception of the films among informants in Zimbabwe today? The second approach specifically addresses the interchange between the audience members’ self-identified religious beliefs and their reception of the films. There are two central research questions within this approach. First, in what ways may pre-existing perceptions of Jesus shape informants’ responses to and interpretations of Jesus as he is portrayed in The Jesus Film and in indigenous, short Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect those perceptions of Jesus? Based upon the careful analysis of the original data that emerges from the field work of this research, the conclusion provides a series of answers to these questions, revealing new insights into the interplay of film and religion in Zimbabwe.
APA, Harvard, Vancouver, ISO, and other styles
5

Shier, Sara Ann. "The depiction of indigenous African cultures as other in contemporary, Western natural history film." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/shier/ShierS1206.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Cohen, Hart K. "From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.

Full text
Abstract:
An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference is retreivable in the terms set by ethnography. The emergence of the indigenous ethnographer has consequences for understanding the problems in the relations between Western and non-Western cultural formations. As a means through which a culture or nation may represent its own historical evolution, indigenous media is also, however, a discourse in formation--characterized by heterogenous claims and practices.
APA, Harvard, Vancouver, ISO, and other styles
7

Mayo, Jason. "Native American Cinema: Indigenous Vision, Domestic Space, and Historical Trauma." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366388821.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ellison, Elizabeth Rae. "The Australian beachspace : flagging the spaces of Australian beach texts." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63468/1/Elizabeth_Ellison_Thesis.pdf.

Full text
Abstract:
The Australian beach is a significant component of the Australian culture and a way of life. The Australian Beachspace explores existing research about the Australian beach from a cultural and Australian studies perspective. Initially, the beach in Australian studies has been established within a binary opposition. Fiske, Hodge, and Turner (1987) pioneered the concept of the beach as a mythic space, simultaneously beautiful but abstract. In comparison, Meaghan Morris (1998) suggested that the beach was in fact an ordinary or everyday space. The research intervenes in previous discussions, suggesting that the Australian beach needs to be explored in spatial terms as well as cultural ones. The thesis suggests the beach is more than these previously established binaries and uses Soja's theory of Thirdspace (1996) to posit the term beachspace as a way of describing this complex site. The beachspace is a lived space that encompasses both the mythic and ordinary and more. A variety of texts have been explored in this work, both film and literature. The thesis examines textual representations of the Australian beach using Soja's Thirdspace as a frame to reveal the complexities of the Australian beach through five thematic chapters. Some of the texts discussed include works by Tim Winton's Breath (2008) and Land's Edge (1993), Robert Drewe's short story collections The Bodysurfers (1987) and The Rip (2008), and films such as Newcastle (dir. Dan Castle 2008) and Blackrock (dir. Steve Vidler 1997). Ultimately The Australian Beachspace illustrates that the multiple meanings of the beach's representations are complex and yet frequently fail to capture the layered reality of the Australian beach. The Australian beach is best described as a beachspace, a complex space that allows for the mythic and/or/both ordinary at once.
APA, Harvard, Vancouver, ISO, and other styles
9

Strong, Adrian. "Representation of Indigenous People Through Documentary and Ethnographic Film: With Particular Reference to the Ju/'hoan Community of the Kalahari, and the Effect Film has had on Their Lives." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/365633.

Full text
Abstract:
While documentary films featuring indigenous people have a long history and include ethnographic films made under educational or scientific auspices, many films about indigenous people have been prone to projection by filmmakers, particularly those with little in depth knowledge of their film subjects. People labeled ‘Bushmen’ have, more than any other indigenous people, been portrayed in documentaries in ways which relate more to the fantasies of the filmmaker and those of his or her culture than to the people at the other end of the camera. In order to investigate this problem, this dissertation employs both an audio-visual component and a written exegesis. The latter considers the problem by examining the evolution of the work of iconic ethnographic filmmaker, John Marshall who, during fifty years of filming the Ju/’hoansi (a.k.a. Kalahari Bushmen), tirelessly invented creative solutions to reduce his own projections and present more truthful and accurate representations of the people in his films. This exegesis introduces issues of projection and archetype in documentary and discusses historical examples of the ‘Bushman myth’ in documentary before analyzing the evolution of Marshall’s filmmaking career in the Kalahari and his efforts to counter the myth. Throughout the exegesis reference is made to the impact of Marshall’s ideas and philosophy of flmmaking on my own practice.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Humanities<br>Arts, Education and Law<br>Full Text
APA, Harvard, Vancouver, ISO, and other styles
10

Neely, Jacob S. "INTIMATE INDIGENEITIES: ASPIRATIONAL AFFECTIVE SOLIDARITY IN 21ST CENTURY INDIGENOUS MEXICAN REPRESENTATION." UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/42.

Full text
Abstract:
This dissertation analyzes six contemporary texts (2008–18) that represent indigenous Mexicans to transnational audiences. Despite being disparate in authorship, genre, and mode of presentation, all address the failings of the Mexican state discourse of mestizaje that exalts indigenous antiquities while obfuscating the racialized socioeconomic hierarchies that marginalize contemporary indigenous peoples. Casting this conflict synecdochally as the national imposing itself on quotidian life, the texts help the reader/viewer come to understand it in personal, affective terms. The audience is encouraged to identify with how it feels to exist in a space where, paradoxically, the interruption of everyday life has become the status quo. Questioning the status quo by appealing to international audiences, these texts form a contestatory current against state mestizaje within the same transnational networks of legitimation employed in the 19th and 20th centuries to promote it. In this way, the texts work to build political solidarity via affective means in order to promote and propagate in the popular discourse a questioning how the Mexican state apprehends its indigenous citizens. Ultimately, they seek more inclusive, representative governmental policies for indigenous peoples in Mexico without rejecting capitalist hegemony: they are articulating it against itself.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Indigenous film"

1

Blackmore, Ernie, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox. The Routledge Handbook of Indigenous Film. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

curator, Robertson Carmen, and MacKenzie Art Gallery, eds. The Sioux Project--Tatanka Oyate. Vancouver, BC: Information Office, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Heider, Karl G. Seeing anthropology: Cultural anthropology through film. Boston: Allyn and Bacon, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Heider, Karl G. Seeing anthropology: Cultural anthropology through film. 2nd ed. Boston: Allyn and Bacon, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Limbrick, Peter. Making settler cinemas: Film and colonial encounters in the United States, Australia, and New Zealand. New York: Palgrave Macmillan, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Clelland-Stokes, Sacha. Representing aboriginality: A post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film. Højbjerg, Denmark: Intervention Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

editor, Rittstein Lukáš 1973, Šlapetová Barbora 1973-, DOX Centrum současného umění, Akademie výtvarných umění, Knihovna Václava Havla, and Kant (Firm), eds. Super: Obrazy, fotografie, kresby, filmy, animace : jak se dotknout nebe = paintings, photographs, drawings, films, animations : how to reach the sky. Praha: Centrum současného umění DOX, 2022.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Indigenous film"

1

Smith, Jo. "Indigenous insistence on film." In Routledge Handbook of Critical Indigenous Studies, 488–500. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429440229-42.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Murnaghan, Ann Marie, and Tyler McCreary. "Indigenous Children in Canadian Cinema." In Film Landscapes of Global Youth, 102–15. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003347446-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Estrada, Gabriel S., Jon Ivan Gill, and Ken Derry. "Film Studies." In The Routledge Handbook of Research Methods in the Study of Indigenous Religions, 237–55. London: Routledge, 2025. https://doi.org/10.4324/9781003265207-20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shaw, Deborah. "Making Accented Indigenous Transnational Community Cinema." In The Routledge Handbook of Indigenous Film, 272–85. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Blackmore, Ernie, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox. "Introduction: Indigenous Filmmaking Throughout the World." In The Routledge Handbook of Indigenous Film, 1–82. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Motsaathebe, Gilbert. "African Languages and Gender Identity in Marginal Films Made Outside the Mainstream Film Industry in South Africa." In Indigenous African Language Media, 137–56. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-0305-4_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Attfield, Sarah. "Race and Class in Australian Indigenous Film." In Class on Screen, 167–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45901-7_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sioui Durand, Guy. "Yändia'wich." In The Routledge Handbook of Indigenous Film, 442–54. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ylagan, Christian. "Constellating Bakla Desire in Auraeus Solito's The Blossoming of Maximo Oliveros." In The Routledge Handbook of Indigenous Film, 349–65. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Rein, Nele. "Reggae Sounds in Māori Cinema." In The Routledge Handbook of Indigenous Film, 519–32. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303022-41.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Indigenous film"

1

Penkala, Joseph E., Jennifer Fichter, and Sunder Ramachandran. "Protection against Microbiologically Influenced Corrosion by Effective Treatment and Monitoring During Hydrotest Shut-in." In CORROSION 2010, 1–17. NACE International, 2010. https://doi.org/10.5006/c2010-10404.

Full text
Abstract:
Abstract During hydrotesting, a pipeline may be shut-in for a significant period of time. If unprotected, the pipeline becomes susceptible to corrosion due to bacteria, oxygen, and saline conditions of the hydrotest water, typically obtained from surface waters and seawater. Most notably, indigenous bacterial populations in source water used to fill the pipeline can proliferate in the stagnant shut-in condition and attach to the pipe wall forming biofilms. These sessile biofilms may contain sulfate reducing bacteria (SRB) and/or acid-producing bacteria (APB) which can contribute to microbiologically influenced corrosion (MIC). In addition, SRB generate hydrogen sulfide (H2S) which is hazardous, corrosive, and can form iron sulfide solids. To protect against these adverse effects, three types of chemicals are generally recommended to be added to the hydrotest water during the pipeline fill: an oxygen scavenger, a biocide, and a corrosion inhibitor. Chemical treatment to prevent corrosion invariably deals with balancing risk, damage to the environment, and cost of the program. The method of applying chemical is important to ensure protection for extended shut-in times. Monitoring is important to ensure that protection is being provided during shut-in and that risk is minimized after the pipeline is brought into operation. The paper will discuss different methods for discharging the water into the environment as well as procedures to ensure corrosion protection for shut-in times that exceed the original target discharge date. In support of this discussion, field data is presented from a hydrotest application that was monitored for bacterial growth and biocide residual during shut-in. This data highlights the importance of protecting the pipeline during shut-in and emphasizes that a quality monitoring program is the key in determining if a chemical program is providing control over the targeted parameters. A discussion of best practices for MIC-protection during hydrotest is provided.
APA, Harvard, Vancouver, ISO, and other styles
2

Fadli, M., D. Hasfera, and Arwendria Arwendria. "Film for Preserving Indigenous Knowledge Minangkabau Culture." In Proceedings of the 2nd International Conference on Local Wisdom, INCOLWIS 2019, August 29-30, 2019, Padang, West Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.29-8-2019.2288974.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

Full text
Abstract:
Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.
APA, Harvard, Vancouver, ISO, and other styles
4

Undiana, Nala Nandana, Dedi Warsana, Arief Johari, and Iwan Pranoto. "Accompaniment for Contemporary Artist in the Making of Documentary Film About Cultural Values at Kasepuhan Ciptagelar Indigenous Community." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.034.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Botsi, Elena. "Management of Language Boundaries: Autoethnography by a Documentary Film about an Arvanitika Language Community in Greece." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.3-2.

Full text
Abstract:
Arvanitika is a threatened language that is spoken in very few areas of Greece. Greece's Arvanitika -speaking communities, scattered in suburban areas, mainly in southern mainland and island Greece. These were founded in the Late Middle Ages during the Byzantine and Frankish conquest of Ottoman rule in the Southern Balkans, and merged with the new Greek nation by virtue of the Greek Orthodox faith and the struggle for liberation toward the Turks. Arvanitika is a branch of the South Albanian Tosk dialect characterized by a phenomenon of pidginization from Greek of various historical periods. During the period of language isolation, language contact with the official Albanian language was followed by massive Albanian migration to Greece in the early 1990s. The era of Albanian immigration finds the Arvanitika language, a low-status language, in a phase of linguistic change and transition from bilingual (Arvanitika-Greek) to the monolingual (Greek) situation mainly by the younger generations, where the Arvanitika communities remain in a phase of urbanization. The need to delineate the Arvanitika language from the official Albanian language and the negotiation of their ethnic identity leads the Arvanitika-speakers to a symbolic affirmation of difference between the two languages. In recent years, there has been a growing interest in language recording and salvage, especially at the folklore level with the revival of traditions. The present paper is a linguistic autoethnography that focuses on the participation of the referent person in a documentary film about an Arvanitika village, in which she plays a dual role, that of the researcher, and as well as of the indigenous community member, in attempting to negotiate between science and domestic linguistic ideologies.
APA, Harvard, Vancouver, ISO, and other styles
6

Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

Full text
Abstract:
“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.
APA, Harvard, Vancouver, ISO, and other styles
7

Wendl, Nora, and Julian Maltby. "A Metate, Micaceous Clay Pottery, and the ATLAS-1 Trestle: Mining the Interior Structures of Objects to Build Architectural Theory." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.107.

Full text
Abstract:
In this graduate architectural theory course, students are asked to select an object (not a building) that brings together the environment and humans. First, they write observations of it—answering questions about its materiality, authorship, use, and lifespan, tracing its materiality back to its origins. This is a study of what Elaine Scarry refers to as the “interior structure” of objects: how objects “internalize within their design an active ‘awareness’ of human beings…that is not limited to their use.” Students then write a thesis statement connecting the interior structure of this object to a larger question within the theory of the built environment—examining architecture as related cultural object. The thesis statement is explored in a paper, and the paper is supplemented by a 3-minute film which seeks to reveal a tangible connection to the object and the theory underpinning it. For a student who chose to study an inherited metate, he observed the materiality of this tool for grinding corn—volcanic stone—proposing that “notions of time that are embedded in the cosmic scale of a metate can provide valuable insight into the way we design and construct buildings,” connecting the physicality of the metate to his own family’s origins, modernism’s avoidance of time, and the “dormant tectonics” of building with volcanic rock, which he’d learned during an internship in Mexico City. The companion film used footage of volcanic eruptions in Mexico, and the student using the metate, combining source and tool across time. For this session, we propose presenting the structure of this course, and three architectural theory papers it produced: papers whose origins were found in a metate, in the micaceous clay pottery of indigenous Taos Pueblo people, and in the ATLAS-1 Trestle at Kirtland Air Force Base, all objects specific to cultures within this region, and containing within their interior structures—as the students prove—theories applicable to the built environment.
APA, Harvard, Vancouver, ISO, and other styles
8

Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.

Full text
Abstract:
In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
APA, Harvard, Vancouver, ISO, and other styles
9

Prasad, Lalit, L. M. Das, and S. N. Naik. "Effects of Jatropha Curcas Oil and Alkyl Ester as Lubricity Enhancer for Diesel Fuel." In ASME 2012 Internal Combustion Engine Division Spring Technical Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ices2012-81209.

Full text
Abstract:
Increasing strict regulation on the sulfur content of diesel fuels results in decreases the lubricity of these fuels. The lubricity of the fuel is an indication of the amount of wear or scarring that occurs between two metal parts covered with the fuel as they come in contact with each other. Low lubricity fuel may cause high wear and scarring and high lubricity fuel may provide reduced wear and longer component life. Previous studies have shown that alkyl esters of triglycerides derived from vegetable oils have increased diesel fuel lubricity at concentration of less than 1%. The major objective of this study was to analyze the effectiveness of indigenous non-edible feedstocks such as jatropha (Jatropha curcas) as an additive in petroleum based diesel fuels. Jatropha oil, and its alky esters (methyl and ethyl ester) and oil-ester blends with diesel were tested as an additive to enhance the lubricity of diesel fuels. In case of fuels, the lubricating behavior is associated with boundary film-forming properties. The analysis was carried out by using ASTM 6079-4 test method using High Frequency Reciprocating Rig (HFRR model D1377) as an analytical tool. The coefficient of friction and wear was observed higher for the low lubricity diesel fuel (LLDF) and it decreases with the addition of additive dose of oil, methyl and ethyl ester of jatropha. It may be due to the better lubricating behavior of non-edible based oil and ester compare to LLDF. During the HFRR test 2±0.20 ml of fluid sample under test is placed in reservoir which is maintained at a specified temperature of 60±2 °C. The HFRR test uses a vertically mounted steel ball to apply force to a horizontally mounted stationary steel disk with an applied load (200±1 g). The test ball is oscillated at a fixed frequency (50 ± 1 Hz) with a fixed stroke length (1 ± 0.02 mm) while the disk is fully immersed in the fluid reservoir. The whole test rig was placed in the humidity cabin with transparent enclosure. The test was kept for 75 minutes and the wear scar on the ball was measured by electronic microscope. It is believed that the high concentration of the particular fatty acid in oil and alkyl ester could be responsible for enhancing the lubricity and subsequent lower wear scar.
APA, Harvard, Vancouver, ISO, and other styles
10

Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.

Full text
Abstract:
This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Indigenous film"

1

Alwang, Jeffrey, Alexis Villacis, and Victor Barrera. Credence Attributes and Opportunities: Yerba Mate in Paraguay. Inter-American Development Bank, January 2022. http://dx.doi.org/10.18235/0003962.

Full text
Abstract:
The value of yerba mate (Ilex paraguariensis) exports from Paraguay has recently increased dramatically. Much of this growth is due to positioning of the good within the universe of products where consumption growth is driven by perceptions of sustainable production and health benefits to consumers--that is, credence attributes creating a new dimension of demand. Credence claims for yerba mate's benefits to indigenous producing communities, environmental sustainability under certain production processes, healthful alternatives to energy drinks, are now widely known, but the growth of this awareness came via a new entrepreneurial strategy of a single firm. This case study explores the determinants of growth of credence-based exports of yerba mate from Paraguay, potential for increased growth, and the fragility of the credence-based model.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Indigenous film' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography