Academic literature on the topic 'Indigenous film'
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Journal articles on the topic "Indigenous film"
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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.
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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 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.
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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.
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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.
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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 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.
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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.
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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 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.
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Jafri, Beenash. "Refusal/film: diasporic-indigenous relationalities." Settler Colonial Studies 10, no. 1 (January 2, 2020): 110–25. http://dx.doi.org/10.1080/2201473x.2019.1677133.
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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.
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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, 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.
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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.
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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 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.
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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 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.
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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.
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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 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.
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Jafri, Beenash. "Black Representations of Settlement on Film." Cultural Studies ↔ Critical Methodologies 17, no. 1 (July 25, 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 life as settled life naturalize settler colonialism while erasing and displacing Indigenous claims to land. I illuminate this method by analyzing how the 1974 “blaxploitation Western” Thomasine and Bushrod imagines settlement. The film features a pair of lovers who are on the run from the law in America’s Southwest from 1911 to 1915. Because it is a film that speaks back to historical constructions of Blackness and Indigeneity, Thomasine and Bushrod productively illuminates how representations of Indigenous erasure work in often ambiguous and contradictory ways.
Dissertations / Theses on the topic "Indigenous film"
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Waititi, Kahurangi Rora. "Applying Kaupapa Māori Processes to Documentary Film." The University of Waikato, 2007. http://hdl.handle.net/10289/2437.
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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.
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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.
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Shreve, Adam Terrence. "Framing the sacred : an analysis of religious films in Zimbabwe." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22006.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Neely, Jacob S. "INTIMATE INDIGENEITIES: ASPIRATIONAL AFFECTIVE SOLIDARITY IN 21ST CENTURY INDIGENOUS MEXICAN REPRESENTATION." UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/42.
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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.
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Summerhayes, Catherine, and catherine summerhayes@anu edu au. "Film as Cultural Performance." The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.
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This thesis investigates how Victor Turners concept of cultural performance can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtins dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of performance in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed across cultures and which are concerned particularly with Australian societys relationship with indigenous Australians.
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Section One locates Turners concept of cultural performance within his wider theory of social drama and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of liminality is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as for an audience. I describe this relationship between performances in film and theatre through Kristevas interpretation of Bakhtins concept of heteroglossia as intertextuality, especially through her distinction of a transformative intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory:
1. Brechts theory of gest,
2. direct address to the audience in relation to the gaze in film and
3. Rebecca Schneiders conceptualisation of the performance artist.
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Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turners concept of cultural performance, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechners performance theory, Michael Taussigs understanding of mimesis, Vivian Sobchacks phenomenology of film, Paul Ricoeurs theory of text as meaningful action, Gadamers concept of meaningful play, Bakhtins conceptualisation of a dialogic text and Catherine Bells theory of ritualised behaviour. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougalls transcultural cinema and Jodi Brooks conceptualisation of a gestural practice in film, which she positions both in terms of Brechts theatrical concept of gest and Walter Benjamins concept of the shock of modernity.
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The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who film and people who are filmed. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same social drama: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as fiction and the other as non-fiction towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film a signifying practice which has existed just over one hundred years.
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Talavera, Eutimio. "The Unsung Hero Character: A Harbinger Device of Misfortune." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3564.
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This thesis introduces an obscure storytelling device, The Unsung Hero character, as one way of examining how movies function as stories. This character is often overlooked, as it frequently cloaks its idiosyncrasies, thus it lacks any apparent signs of internal conflict. This analysis foregrounds the character’s overall functionality, found only in rare instances and typically in the story of a movie. With effective implementation in a story, as a functional harbinger device, brief appearances of The Unsung Hero character demonstrate flashpoints or disclosures of a forthcoming misfortune in the story. This movie analysis shows how The Unsung Hero character functions effectively as a harbinger device in stories.
Books on the topic "Indigenous film"
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Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.
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Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.
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Columpar, Corinn. Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.
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Unsettling sights: The fourth world on film. Carbondale: Southern Illinois University Press, 2010.
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Heider, Karl G. Seeing anthropology: Cultural anthropology through film. Boston: Allyn and Bacon, 1997.
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Heider, Karl G. Seeing anthropology: Cultural anthropology through film. 2nd ed. Boston: Allyn and Bacon, 2001.
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Seeing anthropology: Cultural anthropology through film. 3rd ed. Boston: Allyn and Bacon, 2004.
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Limbrick, Peter. Making settler cinemas: Film and colonial encounters in the United States, Australia, and New Zealand. New York: Palgrave Macmillan, 2010.
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Visualities: Perspectives on contemporary American Indian film and art. East Lansing: Michigan State University Press, 2011.
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Childhood Indians: Television, film and sustaining the white (sub)conscience. Scotts Valley, Calif.]: [CreateSpace], 2010.
Find full textBook chapters on the topic "Indigenous film"
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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.
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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.
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Villarreal, Gabriela Zamorano. "Bolivian Indigenous Film and the Aesthetics of the Precarious." In The Precarious in the Cinemas of the Americas, 201–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76807-6_11.
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Christensen, Cato. "Sami Shamanism and Indigenous Film: The Case of Pathfinder." In Nordic Neoshamanisms, 175–90. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137461407_10.
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Baudemann, Kristina. "Indigenous Futurist Film: Speculation and Resistance in Jeff Barnaby’s Rhymes for Young Ghouls and File Under Miscellaneous." In Studies in Global Science Fiction, 151–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15685-5_9.
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Heith, Anne. "Indigenous cool." In FILLM Studies in Languages and Literatures, 127–42. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/fillm.15.08hei.
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Milligan, Christina. "Script Development as a Collective Enterprise: The Writing of the Indigenous Feature Film Waru." In The Palgrave Handbook of Script Development, 175–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_13.
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Butler, Sally. "Australian Indigenous Art and Literature." In FILLM Studies in Languages and Literatures, 107–16. Amsterdam: John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/fillm.5.09but.
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Landers, Rachel. "Don’t Eat My Baby: Collisions, Development and Indigenous Consultation in the Australian Family Feature Film Screenplay, Dingo." In The Palgrave Handbook of Script Development, 391–406. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_27.
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Patrick, Stephanie, and Mythili Rajiva. "Introduction." In The Forgotten Victims of Sexual Violence in Film, Television and New Media, 1–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95935-7_1.
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Abstract#MeToo is a contemporary global feminist movement against sexual violence and rape culture, including media representations that normalize gendered violence. But #MeToo has also re-centered white, western, middle-class, heteronormative, and able-bodied women. This collection explores who is left out of mainstream media stories of sexual violence, critiquing feminist media studies work that ignores black feminist and intersectional scholarship. Topics include 1990s filmic representations of white working-class girls; the disposability of televisual sex workers; the fetishizing and/or disappearing of racialized characters in order to center white heroism and/or heteronormativity; the explicit construction of fat women as impossible victims; and rape-revenge films in Japanese cinema. Finally, outside traditional media, topics include Canadian true crime podcasts on Missing and Murdered Indigenous Women; problematic tropes on reality television; the coding of sexual violence in digital assistants; and the subversive potential of stand-up comedy shows that center the experiences of rape victims.
Conference papers on the topic "Indigenous film"
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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.
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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.
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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.
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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.
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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.
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“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.
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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.
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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.
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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.
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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.
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.
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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.
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Bailey, Margaret B., Peter Curtiss, Paul H. Blanton, and Thomas B. McBrayer. "Exergetic, Thermal, and Externalities Analyses of a Cogeneration Plant." In ASME 2003 International Solar Energy Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/isec2003-44045.
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A thermodynamic study of an 88 MW cogeneration plant located in the United States is presented. The plant is singled out for consideration since the feedstock consists of waste anthracite culm banks. The culm banks remain on the ground surface after decades of active coal mining in the region. Before combustion, usable coal within the culm is separated from the indigenous rock and conveyed to circulating fluidized bed (CFB) boilers. The indigenous rock and ashes from combustion are used as fill in adjacent land previously scared by strip mining. Trees and grass are planted in these areas as part of a land reclamation program. The research reported here includes the results of thermodynamic analyses of the cogeneration plant cycle and processes. Analyses based on the First and Second Laws of Thermodynamics are first presented to acquaint the reader with the plant’s components and operation. Data used in the calculations are based on actual operating data obtained at the cogeneration plant during a mass and energy balance study conducted in the late 1990’s. The data are average values and indicative of the plant’s base load operating state. Using emission and other relevant environmental data from the plant, an externalities study is outlined that estimates the plant’s effect on the local population.
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D’souza, Slavia Deeksha, Pratim Hazarika, Ch Surya Prakasarao, M. Kovendhan, R. Arockia Kumar, and D. Paul Joseph. "Indigenous unit for bending and twisting tests of ultra-thin films on a flexible substrate." In DAE SOLID STATE PHYSICS SYMPOSIUM 2017. Author(s), 2018. http://dx.doi.org/10.1063/1.5028772.
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Grigoryev, Y., and H. F. Hashim. "Pipelines or LNG: What is the Future Transport of Choice?" In 2006 International Pipeline Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/ipc2006-10008.
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As worldwide demand for natural gas continues to grow at an increasing rate and certain countries’ indigenous production is either in decline or simply unable to fill the shortfall, more attention is being given to importing gas from the few remaining major exporters. The UK has recently become a net importer of gas, and the US is expected to import as much as 5 trillion cubic feet of gas by 2020, the question that arises is what will be the primary method of delivery in the future? Can LNG alone fill any shortfalls and make interregional pipelines obsolete or will pipelines provide enough volume to stall LNG production? Issues of safety and high capital costs are principle reasons why some projects avoid LNG technology. This paper looks at when LNG may be preferable, and when pipelines are the better method of transport in the context of economics and policy.
Reports on the topic "Indigenous film"
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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.
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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.