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Books on the topic 'Indigenous film'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

Seeing anthropology: Cultural anthropology through film. 3rd ed. Boston: Allyn and Bacon, 2004.

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8

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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9

Visualities: Perspectives on contemporary American Indian film and art. East Lansing: Michigan State University Press, 2011.

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10

Childhood Indians: Television, film and sustaining the white (sub)conscience. Scotts Valley, Calif.]: [CreateSpace], 2010.

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11

Reservation reelism: Redfacing, visual sovereignty, and representations of Native Americans in film. Lincoln: University of Nebraska Press, 2010.

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12

Smoke signals: Native cinema rising. Lincoln: University of Nebraska Press, 2012.

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13

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

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14

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

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15

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

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16

Representing aboriginality: A post-colonial analysis of the key trends of representing aboriginality in South African, Australian and Aotearoa/New Zealand film. Højbjerg: Intervention Press, 2006.

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17

Engaged resistance: American Indian art, literature, and film from Alcatraz to the NMAI. Austin: University of Texas Press, 2011.

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18

Native recognition: Indigenous cinema and the western. Albany: State University of New York Press, 2012.

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19

Native features: Indigenous films from around the world. New York: Continuum, 2008.

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20

Alexander G. Flor. Ethnovideography: Video-based indigenous knowledge systems. College, Los Baños, Laguna, Philippines: SEAMEO Regional Center for Graduate Study and Research in Agriculture, 2002.

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21

Indigenous aesthetics: Native art, media, and identity. Austin: University of Texas Press, 1998.

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22

Williams, Deane. Mapping the imaginary: Ross Gibson's Camera natura. South Melbourne, Vic: Australian Film Institute, 1996.

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23

El cine de los otros: La representación de "lo indígena" en el cine documental ecuatoriano. Quito, Ecuador: Ediciones Abya-Yala, Universidad Politécnica Salesiana, 2011.

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24

1948-, Warren Charles, ed. Just representations. Cambridge, Mass: Studio7Arts & Peabody Museum Press, 2010.

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25

The Gulliver file: Mines, people, and land : a global battleground. London: Minewatch, 1992.

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26

Looking with Robert Gardner. Albany: State University of New York Press, 2016.

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27

The country of lost children: An Australian anxiety. Cambridge: Cambridge University Press, 1999.

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28

Schweninger, Lee. Imagic Moments: Indigenous North American Film. University of Georgia Press, 2013.

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29

Imagic moments: Indigenous North American film. University of Georgia Press, 2013.

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30

Pearson, Wendy Gay, and Susan Knabe. Reverse Shots: Indigenous Film and Media in an International Context. Wilfrid Laurier University Press, 2015.

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31

Pearson, Wendy Gay, and Susan Knabe. Reverse Shots: Indigenous Film and Media in an International Context. Wilfrid Laurier University Press, 2015.

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32

Dutto, Matteo. Legacies of Indigenous Resistance: Pemulwuy, Jandamarra and Yagan in Australian Indigenous Film, Theatre and Literature. Lang AG International Academic Publishers, Peter, 2019.

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33

Dutto, Matteo. Legacies of Indigenous Resistance: Pemulwuy, Jandamarra and Yagan in Australian Indigenous Film, Theatre and Literature. Lang AG International Academic Publishers, Peter, 2019.

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34

Dutto, Matteo. Legacies of Indigenous Resistance: Pemulwuy, Jandamarra and Yagan in Australian Indigenous Film, Theatre and Literature. Lang AG International Academic Publishers, Peter, 2019.

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35

Dutto, Matteo. Legacies of Indigenous Resistance: Pemulwuy, Jandamarra and Yagan in Australian Indigenous Film, Theatre and Literature. Lang AG International Academic Publishers, Peter, 2019.

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36

Heider, Karl G. Supplement: Ethnographic Film Clips (DVD) - Seeing Anthropology: Cultural Anthropology Through Film. Allyn & Bacon, 2007.

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37

Markussen, Birgitte. Advocacy and Indigenous Film-Making (Intervention : Nordic Papers in Critical Anthropology). Smyrna Pr, 1994.

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38

Heider, Karl G. Seeing Anthropology: Cultural Anthropology through Film. Allyn & Bacon, 1996.

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39

Heider, Karl G. Seeing Anthropology : Cultural Anthropology Through Film. Allyn & Bacon, Incorporated, 2000.

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40

Pamela A. R. Blakely (Contributor) and Thomas D. Blakely (Contributor), eds. Seeing Anthropology: Cultural Anthropology Through Film. Allyn & Bacon, 2006.

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41

Marsh, Dawn G. Native American History Goes to the Movies: Indigenous Film and the Problem of American History. Taylor & Francis Group, 2016.

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42

Marsh, Dawn G. Native American History Goes to the Movies: Indigenous Film and the Problem of American History. Taylor & Francis Group, 2016.

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43

Heider, Karl G. Seeing Anthropology: Cultural Anthropology Through Film, Third Edition. Allyn & Bacon, 2003.

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44

Heider, Karl G. Seeing Anthropology: Cultural Anthropology through Film (2nd Edition). 2nd ed. Allyn & Bacon, 2000.

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45

Native Americans on film: Conversations, teaching, and theory. 2013.

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46

Cummings, Denise K. Visualities: Perspectives on Contemporary American Indian Film and Art. Michigan State University Press, 2011.

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47

Raheja, Michelle H. Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film. University of Nebraska Press, 2013.

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48

Fox, Alistair. A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0007.

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This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

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49

Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.

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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.

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50

Rader, Dean. Engaged Resistance: American Indian Art, Literature, and Film from Alcatraz to the NMAI. University of Texas Press, 2011.

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