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Artículos de revistas sobre el tema "Indigenous film"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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

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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.

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2

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

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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 su

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3

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

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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

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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 (2022): 57–70. http://dx.doi.org/10.1386/jsca_00064_1.

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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

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5

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

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6

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

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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 methodo

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7

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

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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, sh

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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 (2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.

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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 comp

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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.

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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 indig

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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 (2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.

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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 di

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11

Crowdus, Miranda. "“Sounds and sweet airs, that give delight, and hurt”." Living Histories: A Past Studies Journal 1 (June 6, 2022): 22–31. http://dx.doi.org/10.24908/lhps.v1i1.15561.

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This article addresses Indigenous film-maker, Lisa Jackson’s, skillful and strategic integration of selections of Western Art Music from the Early and Late Classical period in the soundtracks of her recent films. This strategy draws attention to indigenous perspectives on economic and cultural sustainability, as well as to the threat posed to indigenous continuity by colonialist legacies, past and present. In Jackson’s films, the excerpts from Western Art Music comprising the musical score “takes over” the narrative; their sound is pleasant, but unseen, insidious and triumphant, ultimately a d

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12

Okibe, Summer. "Female Filmmakers in Nigeria: Breaking Barriers and Shaping Narratives." East African Journal of Arts and Social Sciences 7, no. 1 (2024): 474–83. http://dx.doi.org/10.37284/eajass.7.1.2088.

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This paper explores the significant contributions of Indigenous women filmmakers in Nigeria, highlighting their roles in breaking barriers and shaping narratives within the Nigerian film industry, known as Nollywood. Indigenous women have made remarkable strides in an industry traditionally dominated by men, using their platforms to challenge societal norms and advocate for gender equality. This paper discusses the historical context of Indigenous women in Nigerian cinema, profiling key figures such as Genevieve Nnaji, Kemi Adetiba, Mildred Okwo, and several others. Additionally, it examines t

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13

Jafri, Beenash. "Refusal/film: diasporic-indigenous relationalities." Settler Colonial Studies 10, no. 1 (2020): 110–25. http://dx.doi.org/10.1080/2201473x.2019.1677133.

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14

Vonderheide, Leah. "Toward a Feminist Fourth Cinema: Waru (2017)." Camera Obscura 38, no. 2 (2023): 63–87. http://dx.doi.org/10.1215/02705346-10654899.

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Abstract This essay offers an analysis of Waru, an omnibus film written and directed by a sisterhood of nine Māori women, which illuminates a philosophy of Māori women's filmmaking and indicates new possibilities for a global Indigenous cinema. In the two decades since Māori filmmaker Barry Barclay declared the existence of a “fourth cinema,” the cinema of Indigenous peoples, the number of dramatic feature films by Indigenous directors around the globe has grown significantly, with particular attention garnered by the success of Māori filmmaker Taika Waititi. Yet, while it would be tempting to

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15

Jafri, Beenash. "Reframing Suicide." GLQ: A Journal of Lesbian and Gay Studies 27, no. 4 (2021): 577–602. http://dx.doi.org/10.1215/10642684-9316852.

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Abstract What can narratives of suicide tell us about diasporic and Indigenous relationships to the white settler state? This article engages relational critique to examine trans/femme/bisexual South Asian Canadian filmmaker Vivek Shraya's short film I want to kill myself (2017) and queer Cree/Métis filmmaker Adam Garnet Jones's feature film Fire Song (2015). Both films challenge the spectacularity of suicide, effectively situating suicide on a continuum of “slow death.” However, the films also stage distinct relationships between suicide, community, and the state that emerge from diasporic an

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16

Jafri, Beenash. "Black Representations of Settlement on Film." Cultural Studies ↔ Critical Methodologies 17, no. 1 (2016): 50–59. http://dx.doi.org/10.1177/1532708616638697.

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This article develops a method for analyzing Indigenous erasure in popular film that focuses not on the representations (or lack thereof) of Indigenous peoples but on representations of settlement. Whereas much of the scholarship on Native representations in film has been concerned with Hollywood’s promulgation of the “mythical Indian,” I argue that a focus on settlement—rather than on bodies—is significant in the context of the ongoing, unfinished processes of colonialism, which continue to structure life in white settler states. Cultural representations that reconfigure colonial-occupied lif

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17

Carey-Webb, Jessica. "Fevered Returns." Journal of Lusophone Studies 8, no. 2 (2024): 114–33. https://doi.org/10.21471/jls.v8i2.488.

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This article examines the portrayal of Indigenous people and the environment through film in Brazil. A Febre, the 2019 Brazilian film written and directed by Maya Da-Rin, tells the story of a Desana man, Justino, who lives in the Amazonian city of Manaus and works as a security guard at a cargo port. As the film progresses, Justino experiences an intermittent fever with dreams and visions that call him back to his village in the forest. Modernity becomes a disease that pushes Justino to seek a closer relationship with nature. As a meditation on modernity and Indigeneity, the film reveals the t

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18

Malik, Shaista, Ayaz Muhammad Shah, and Farhat Nawaz. "VISUAL SOVEREIGNTY IN SMOKE SIGNALS: A CRITICAL VISUAL ANALYSIS." Pakistan Journal of Social Research 04, no. 01 (2022): 793–804. http://dx.doi.org/10.52567/pjsr.v4i1.944.

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The current research paper aims to see a film Smoke Signals by American Indian writer Sherman Alexie and director Chris Eyre as an attempt to define visual sovereignty. By applying Critical Visual Theory, the paper seeks to provide not just a close visual reading but also a broad study of American Indian indigenous film’s meanings with the understanding that the film functions as a politicized way of giving voice to the marginalized indigenous community. The film nullifies Hollywood representation of Natives by its celebration of Native storytelling. My contention is that the film is not a pas

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19

Summerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly 58, no. 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.

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Abstract In her vividly textured, complicated, and passionate film, beDevil, Australian Aboriginal artist and filmmaker Tracey Moffatt avoids easy stereotypes of victims and oppressors. She not only inspects some of the repressed stories of indigenous Australians, but also looks at the bewildered, bedeviled ways in which non-indigenous and indigenous Australians live with each other. Moffatt draws on all aspects of her artistic practice in this feature-length film.

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20

Priventa, Hendrike. "Sikap Ambivalensi Pribumi Dan Hibriditas Masyarakat Di Kepulauan Utara Jepang Dalam Film Animasi Joppani No Shima Karya Shigemichi Sugita." KIRYOKU 3, no. 3 (2019): 126. http://dx.doi.org/10.14710/kiryoku.v3i3.126-134.

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This study aims to describe the indigenous ambivalence in the Joppani no Shima animated film and community hybridity in the Japanese Northern Islands in the animated film Joppani no Shima. The approach used is postcolonial with the perspective of Homi. K Bhaba. The results of this study are 1) The attitude of indigenous ambivalence in the film Joppani no Shima is divided into two, namely the attitude of loving the homeland and the attitude of looking at the colonizers higher. The attitude of indigenous ambivalence is one of the drivers of hybridity. 2) The hybridity of the North Island Islands

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21

Lehman, Kathryn. "Beyond Academia: Indigenous media as an intercultural resource to unlearn nation-state history." Revista Tempos e Espaços em Educação 10, no. 21 (2017): 29–40. http://dx.doi.org/10.20952/revtee.v10i21.6330.

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This article proposes that settler communities cannot teach or understand our shared intercultural history without listening to ideas presented by Indigenous communities about their own history in lands currently occupied by modern nation- -states. This history enables us to understand the power of the ethnographic gaze and its relation to The Doctrine of Discovery (1493), which extinguished Indigenous rights to lands and resources, rights later transferred to the modern nation- -states through the legal notion of “eminent domain”. These rights include the ownership of intangibles such as the

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22

Novi Rahmawati, Arif Ardy Wibowo, and Rahina Nugrahani. "Representasi Pribumi dalam Film Bumi Manusia (Kajian Semiotika Saussure)." Journal of Computer Science and Visual Communication Design 7, no. 1 (2022): 1–16. http://dx.doi.org/10.55732/jikdiskomvis.v7i1.472.

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Bumi Manusia is one of Hanung Bramantyo's films that managed to attract the attention of Indonesian audiences because apart from being based on a historical novel written by a famous writer, namely Pramoedya Ananta Toer, this film also tells about the life of the Indigenous people in the colonial era. This study aims to provide knowledge and understanding of Indigenous Representation using Saussure's Semiotic Analysis Model. The representation approach used is a constructionist approach used in the process through the language used. The method used in this study is qualitative with a descripti

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23

Buckley, Thea. "India’s Indigenous Lear: Iyobinte Pusthakam." Revista Canaria de Estudios Ingleses, no. 83 (2021): 117–29. http://dx.doi.org/10.25145/j.recaesin.2021.83.09.

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In his 2014 Malayalam-language film Iyobinte Pusthakam (The Book of Job), Amal Neerad combines this Biblical fable with The Brothers Karamazov and King Lear to illustrate generational tensions in a divided South Indian family on a colonial tea plantation. Patriarch Job perpetuates colonial evils, including anti-tribal pogroms and sandalwood smuggling. Here, Job disinherits his youngest son Aloshy (a conflated Edmund+Cordelia figure) upon discovering his Communist sympathies. Through such Shakespearean dilemmas, Neerad’s film raises ethical questions regarding caste, race, politics and environm

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24

Bradford, Clare. "The Stolen Generations of Australia: Narratives of Loss and Survival." International Research in Children's Literature 13, no. 2 (2020): 242–58. http://dx.doi.org/10.3366/ircl.2020.0356.

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Australian texts for the young run the gamut of representational approaches to the removal of Indigenous children. Early colonial texts treated child removals as benign acts designed to rescue Indigenous children from savagery, but from the 1960s Indigenous writers produced life writing and fiction that pursued strategies of decolonisation. This essay plots the history of Stolen Generation narratives in Australia, from the first Australian account for children in Charlotte Barton's A Mother's Offering to Her Children to Doris Pilkington Garimara's Follow the Rabbit-Proof Fence, Philip Noyce's

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Chávez-García, Miroslava. "Interview with Yolanda Cruz." Boom 1, no. 3 (2011): 57–61. http://dx.doi.org/10.1525/boom.2011.1.3.57.

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“Interview with Yolanda Cruz” is a conversation with filmmaker Yolanda Cruz, a graduate of UCLA’s film school and 2011 Sundance Screenwriters Lab Fellow. The interview focuses on her filmmaking, indigenous origins as a Chatino (one of sixteen indigenous groups in Oaxaca, Mexico), and views of indigenous peoples in California and across the globe. The interview spends time on Cruz’s latest film, 2501 Migrants, which depicts the unique work of Alejandro Santiago, an indigenous artist from Oaxaca, who uses his artwork to bring attention to the migrants who have left the region and created what ha

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Windolph, Janine, and Sheila Petty. "“Stories are in our bones!” From mispon to Ācimowin: A conversation with Janine Windolph, in memory of Trudy Stewart." Alphaville: journal of film and screen media, Issue 28 (February 19, 2025): 56–70. https://doi.org/10.33178/alpha.28.04.

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As we talk-write this essay-conversation, we combine our positionality as Atikamekw and Woodland Cree storyteller (Janine Windolph) and settler Canadian (Sheila Petty), our expertise in screen media production, curation and research, and our dedication to linguistic, cultural, and representational sovereignty in Indigenous art and knowledge production. In Indigenous research practices and approaches to curatorial research and methods, it is important to begin by introducing ourselves. Through this “conversational method of Indigenous inquiry” (Christian 43), we intend to probe the history of t

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27

Liu, Yadan, and Feng Li. "An Exploration of Realism in Death Narratives in Contemporary Chinese and Korean New Youth Films from a Global Cultural Perspective." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 1–6. http://dx.doi.org/10.62051/znmvj607.

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With the advent of economic globalization leading to cultural globalization, countries are integrating and innovating their indigenous cultures while absorbing and borrowing from the film cultures of other nations. Chinese and Korean New Youth Films employ a multi-genre narrative mode combining "youth" with realism. This paper conducts a comparative study of Chinese new youth film Better Days and the Korean new youth film Next Sohee, exploring the influence of global cultural perspectives on Chinese and Korean New Youth Films from the perspective of death narratives, the realistic application

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28

Stewart, Tyson. "The Future Is Noir: Alienation, Resentment, and Cyclicality in Indigenous Futurism on Film." Wicazo Sa Review 38, no. 1-2 (2023): 142–58. https://doi.org/10.1353/wic.2023.a965100.

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Abstract: There is much potential for Indigenous science fiction and futurisms to articulate a decolonized vision of the world. "Indigenous futurisms are narratives of biskaabiiyang, an Anishinaabemowin word connoting the process of 'returning to ourselves,' which involves discovering how personally one is affected by colonization, discarding the emotional and psychological baggage carried from its impact, and recovering ancestral traditions in order to adapt in our post-Native Apocalypse world," writes Grace Dillon. If Indigenous futurisms today are the most prominent vehicle for biskaabiiyan

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Edosomwan, Aifuwa, and Uzoma Okoro. "Culture and identity in New Nollywood films: Trends in Indigenous and foreign language cinema." Journal of African Cinemas 16, no. 2 (2024): 221–35. https://doi.org/10.1386/jac_00116_1.

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This article explores how New Nollywood films promote and preserve Nigerian cultures, particularly languages, taking The Wedding Party 2 as a case study. It addresses three questions: (1) how extensively are Indigenous Nigerian languages featured in New Nollywood films, notably those with increased visibility through theatrical releases? (2) In what ways does the language usage in these films contribute to showcasing and preserving the array of cultures found across Nigeria? (3) Taking The Wedding Party 2 as a case study, how does this popular film from New Nollywood either align with or chall

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Mayer, Sophie. "Pocahontas no more." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 113–28. http://dx.doi.org/10.33178/alpha.10.07.

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Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of In

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Macpherson, Elizabeth. "Indigenous Water Rights in Comparative Law." Transnational Environmental Law 9, no. 3 (2020): 393–402. http://dx.doi.org/10.1017/s2047102520000291.

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At the end of the 2015 Academy Award-winning film The Big Short, which explores the origins of the 2008 Global Financial Crisis, a caption notes that the Wall Street investor protagonist of the film who predicted the collapse of the United States (US) housing market would now be ‘focused on one commodity: water’. Water is sometimes described in popular culture as ‘the new oil’ or ‘more valuable than gold’. It is predicted to be the subject of increasing uncertainty, competition, conflict, and even war, as increasing demand from a growing human population and development meets reduced supply as

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Neely, Sol. "Unsettling Monstrosity in Rhymes for Young Ghouls." Screen Bodies 4, no. 1 (2019): 72–95. http://dx.doi.org/10.3167/screen.2019.040106.

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Rhymes for Young Ghouls (2014), written and directed by Mi’kmaq filmmaker Jeff Barnaby, is primarily presented as a residential school “revenge fantasy.” Some critics and reviewers of the film value it for its pedagogical possibilities, arguing that the film occasions opportunity for dialogue between Indigenous and non-Indigenous audiences about the legacies of the residential school system. Yet, numerous decolonial scholars and activists understand that dialogue alone cannot effect the quality of decolonial justice needed in the wake of genocide. This article approaches the film as a saturate

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Octavianty, Widya, and Achmad Yuhdi. "ANALISIS REPRESENTASI PRIBUMI DAN KETIDAKSETARAAN GENDER PEREMPUAN DALAM FILM BUMI MANUSIA." ENGGANG: Jurnal Pendidikan, Bahasa, Sastra, Seni, dan Budaya 4, no. 1 (2024): 274–84. http://dx.doi.org/10.37304/enggang.v4i1.11713.

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This study aims to describe the representation of indigenous women and gender inequality in the film Bumi Manusia and aims to add to being a reference for students in identifying, describing, analyzing, and motivating in studying film analysis in the form of review text to achieve the learning objectives listed in the 2013 curriculum. The method used is a qualitative inductive method for the purpose of building understanding in meaning. The qualitative approach is primarily aimed at exploring, describing, and explaining. Based on the collected data, eight indigenous representations and gender

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Schallenkammer, Denise. "The “Grandmother” of Indigenous Filmmaking in New Zealand." Meridians 23, no. 1 (2024): 156–74. http://dx.doi.org/10.1215/15366936-10926968.

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Abstract With reference to Heperi Mita’s documentary Merata: How Mum Decolonised the Screen (2018) about his mother, Merata Mita, this article illustrates the importance of Indigenous filmmaking by providing insights into the work and life of New Zealand’s first female Māori filmmaker who made a feature-length narrative. Film is an important part of identity formation and shapes the perception of (Indigenous) cultures and peoples. From the late 1970s onward, there is a growing movement in Māori filmmaking which led to changes in the representation of Māori culture in film and influenced Indige

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Barry, Syamsul, Pande Made Sukerta, Martinus Dwi Marianto, and T. Slamet Suparno. "Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture." International Journal of Visual and Performing Arts 4, no. 1 (2022): 27–38. http://dx.doi.org/10.31763/viperarts.v4i1.658.

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Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and particip

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Joe, Jeongwon. "Korean opera-film Chunhyang and the trans-cultural politics of the voice." Muzikologija, no. 5 (2005): 181–93. http://dx.doi.org/10.2298/muz0505181j.

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This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice.

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de la Mora, Sergio. "Roma: Reparation versus Exploitation." Film Quarterly 72, no. 4 (2019): 46–53. http://dx.doi.org/10.1525/fq.2019.72.4.46.

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Sergio de la Mora reviews Roma's reception in Mexico and reflects upon the film's intimate relationship with the nation's political history. Situating Roma with the broader trend in Latin American cinema for films that explore servant-employer relations, he examines how Roma visualizes the ways in which Indigenous domestic and intimate labor has been historically racialized and gendered in Mexico. He discusses the controversy surrounding Cleo's voice and agency in the film along with the aesthetic debates prompted by Cuarón's decision to film in black and white.

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SWANSON, ROSS. "Archive and Authenticity: Cinematic Tourism in El abrazo de la serpiente (2015) by Ciro Guerra." Bulletin of Hispanic Studies: Volume 99, Issue 9 99, no. 9 (2022): 903–26. http://dx.doi.org/10.3828/bhs.2022.54.

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The film El abrazo de la serpiente (2015) by Colombian director Ciro Guerra has been praised for its decolonial and ecological aesthetics. In this article I problematize these readings by arguing that the film, through its references to the archive of Amazonian photography and writing, works to satisfy touristic desires for contact with an ‘authentic’ Other, expressed most clearly in the indigenous shaman character, Karamakate. The film’s touristic aesthetic culminates in the final scenes, in which Karamakate bestows his shamanic knowledge on a white traveller character. This act not only heig

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Berthe, Jamie. "History Calling: Decolonizing Cinema at New York's Film Forum." Film Quarterly 73, no. 2 (2019): 80–86. http://dx.doi.org/10.1525/fq.2019.73.2.80.

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Beginning in late May and unfolding over the course of nearly three weeks, New York's Film Forum's series, “The Hour of Liberation: Decolonizing Cinema, 1966-1981,” provided a stunningly expansive program of Third Cinema titles. In this review, Jamie Berthe addresses the historical and contemporary relevance of the films while focusing in particular on the often overlooked role that women played during these years, both as filmmakers and historical actors, as well as on the importance of the issue of indigenous land rights within the anticolonial film archive.

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40

Moffat, Kate. "Sámi film production and ‘constituted precarity’." Journal of Scandinavian Cinema 10, no. 2 (2020): 191–206. http://dx.doi.org/10.1386/jsca_00022_1.

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This article seeks to both understand and characterize the intrinsic power relationships at the centre of the contemporary Sámi media industries. In the case of the Sámi, the Finno-Ugric indigenous minority who primarily inhabit the northernmost regions of Europe, the need to establish visibility through a variety of film and media channels is amplified by their ongoing constitutional marginalization in both political and economic forums. However, this article asks whether the Sámi face uniquely precarious barriers as indigenous media producers by introducing the concepts of ‘constituted preca

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41

Moss-Wellington, Wyatt. "Transnational Metacinemas." JCMS: Journal of Cinema and Media Studies 63, no. 5 (2023): 147–69. http://dx.doi.org/10.1353/cj.2023.a928878.

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ABSTRACT: Transnational metacinema describes a range of films that depict film production across borders. The diverse corpus includes fictional works explicitly addressing the ethics of film crews working between nations, hybrid nonfictions that reflexively consider their own use of archival footage and re-enactments, cannibal horror films featuring documentarian protagonists, and Hollywood satires. This article considers themes of colonization and exploitation that traverse these examples. Each case complicates the sustaining, modernist notion that reflexivity disrupts viewing pleasure, invit

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42

Fruzzetti, Lina. "What We See What We Understand: Visual Images of the Colonial Experience (1920-1922." Anthropology and Ethnology Open Access Journal 6, no. 1 (2023): 1–9. http://dx.doi.org/10.23880/aeoaj-16000199.

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Through the comparative analysis of the representation of colonial subjects in a Catholic British missionary film and a Catholic Italian missionary film, this study reconstructs the imperial imagination that these two religious associations constructed in the early 1920s. This analysis reveals emblematic traits of the British and the Italian ways to colonialism in which the missionaries had a crucial part. Missionary cinema is here considered as a pivotal primary source to understand colonial rules and located in the larger context of early 1920s ethnographic films portraying indigenous people

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43

Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.

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Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were r

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44

Hook, Genine. "Towards a Decolonising Pedagogy: Understanding Australian Indigenous Studies through Critical Whiteness Theory and Film Pedagogy." Australian Journal of Indigenous Education 41, no. 2 (2012): 110–19. http://dx.doi.org/10.1017/jie.2012.27.

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This article explores student and teacher engagement with Australian Indigenous Studies. In this article I identify key themes in the film September (2007) that demonstrate how the film can be used as a catalyst for student learning and discussion. Critical whiteness theory provides a framework to explore three themes, the invisibility of whiteness, the reachability of whiteness and the cultural interface. Critical whiteness theory identifies the way in which non-Indigenous people centralise and normalise whiteness within colonised societies, and particularly considers how white privilege is m

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Vieira, Patrícia Isabel Lontro. "Animist Phytofilm: Plants in Amazonian Indigenous Filmmaking." Philosophies 7, no. 6 (2022): 138. http://dx.doi.org/10.3390/philosophies7060138.

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Early films about plants offer a glimpse into the behavior of vegetal life, which had hitherto remained hidden from humans. Critics have praised this animistic capacity of cinema, allowing audiences to see the movement of beings that appeared to be inert and lifeless. With these reflections as a starting point, this article examines the notion of animist cinema. I argue that early movies still remained beholden to the goal of showing the multiple ways in which plants resemble humans, a tendency we often still find today in work on critical plant studies. I discuss the concept of animism in the

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Elder, Catriona. "The Proposition: Imagining Race, Family and Violence on the Nineteenth-Century Australian Frontier." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (2016): 165. http://dx.doi.org/10.5007/2175-8026.2016v69n2p165.

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http://dx.doi.org/10.5007/2175-8026.2016v69n2p165This article analyses John Hillcoat’s 2005 film The Proposition in relation to a spate of Australian films about violence and the (post)colonial encounter released in the early twenty-first century. Extending on Felicity Collins and Therese Davis argument that these films can be read in terms of the ways they capture or refract aspects of contemporary race relations in Australia in a post-Mabo, this article analyses how The Proposition reconstructs the trauma of the Australian frontier; how from the perspective of the twenty-first century it wor

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Adah, Anthony. "Special issue on Indigenous film and popular culture." International Journal of Media & Cultural Politics 11, no. 3 (2015): 279–82. http://dx.doi.org/10.1386/macp.11.3.279_2.

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Mumford, Cara. "Dancing the Waterways in Leanne Simpson’s she sang them home." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (2022): 29–41. http://dx.doi.org/10.7202/1085310ar.

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Inspired by essay films meditating on time, travel and ceremony and informed by cinematic cartography, my short dance film, sing them home (2020), travels the specific bodies of water that form the route that Atlantic Salmon once journeyed as they migrated to Michi Saagiig Nishnaabeg territory. Rooted in Nishnaabewin and Indigenous food sovereignty, toward a vision of the collective continuance of Michi Saagiig aki miijim, the film uses movement to activate sites in and on the shores of these lakes and rivers in the present while remembering the past and future of this waterway and her kin. Th

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Chow, Rey. "Lyricism of the Chance Encounter; or, The Cultural Specificity of Affect in (Examples of) Hong Kong Cinema." Film-Philosophy 29, no. 2 (2025): 312–28. https://doi.org/10.3366/film.2025.0307.

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Like any theoretical term, the phrase “culturally specific”, together with its conceptual affiliates such as cultural difference, the local, native and indigenous, invites different approaches of exploration, but in the context of Hong Kong culture, including film and literature, the question that seems unavoidable is how the culturally specific as such has become or persisted as a question worth asking. In a world that is often described as global, simultaneous and instantaneous, on the one hand, and as subject to systemic racialization and racism, on the other, can cultural specificity be un

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Stern, Jennifer. "Indigenous Burial Spaces in Media: Views of Mi'gmaq Cemeteries as Sites of Horror and the Sacred." Review of International American Studies 16, no. 1 (2023): 223–58. http://dx.doi.org/10.31261/rias.14624.

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The term “ancient Indian burial ground” holds bifurcated meaning for Indigenous and mainstream populations. What one group may respect as sacred ground where their ancestors rest, another sees the mystical –and frequently evil– site of forces beyond their knowledge influenced by an ethnic Other. This paper explores this dual labeling of North American Indigenous burial sites through media by looking at representations of Mi’gmaq burial gravesites. In director Jeff Barnaby’s 2013 Rhymes for Young Ghouls, main character Aila (Devery Jacobs) confronts two burial sites that turn the mainstream ste

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