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Dissertations / Theses on the topic 'Indigenous film'
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1
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.
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Pinheiro, Sophia Ferreira. "A imagem como arma: a trajetória da cineasta indígena Patrícia Ferreira Pará Yxapy." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7897.
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This research study aims to outline the trajectory of indigenous film-maker Patrícia Ferreira Pará Yxapy. Patrícia belongs to the Mbyá-Guarani ethnic group and is currently regarded as the most relevant female figure in Brazilian indigenous filmmaking. I attempt to understand her trajectory from the standpoint of the relations she establishes with images to contribute with research on indigenous women and filmmakers and, hence, to understand the paths available for a female indigenous filmmaker in Brazil. I employ audiovisual methods to verify the passage from the representation of an ‘indian image’ – in view of representations brought forth by stereotypical non-indigenous policies – towards the ‘indigenous gaze’. In other words, by focusing on a self-represented and political image as well as on filmmaking from the standpoint of a shared gaze, repertoires, and her own experiences, Patrícia becomes the leading figure of her claims. Therefore, her work opposes the apparent passiveness which is often assigned to the imagery production relation active/man and passive/woman. She distances herself from a romanticized and exotic view (‘of the other’) through appropriations of her discourses, hence performing her own artistic agency in the production of a female indigenous cinematography. There is a tension between borders and their discursive possibilities which have originated from the appropriation of audiovisual technologies that make up hegemonic stances. It is based on this rupture that I carry out an ethnographic experience of video letters, i.e. exchanged videographic messages about a wide range of topics. In this project, they exist between the two of us to show our relationship through images and sounds. In Patrícia’s own words: ‘what I put out used to be inside me’.
Esta pesquisa procura traçar a trajetória da cineasta indígena Patrícia Ferreira Pará Yxapy. Patrícia é Mbyá-Guarani e é atualmente tida como a mulher mais relevante para o cinema indígena brasileiro. Procuro entender sua trajetória a partir das relações que ela estabelece com as imagens a fim de contribuir com os estudos sobre mulheres e cineastas indígenas e, a partir daí, compreender os caminhos de uma mulher indígena cineasta no Brasil. Utilizo métodos audiovisuais para verificar a passagem da representação da “imagem do índio” – diante das representações realizadas por políticas não indígenas estereotipadas – para “o olhar indígena”. Ou seja, com a imagem autorrepresentada e política e o dispositivo cinematográfico a partir do olhar compartilhado, de repertórios e suas experiências, Patrícia torna-se protagonista de suas reivindicações. Portanto, sua obra contrapõe-se ao pressuposto lugar de passividade que é atribuído, frequentemente, à relação de produção imagética ativa/homem e passiva/mulher. Ela afasta-se da visão romantizada e exótica (“do outro”) por meio das apropriações de seus discursos, empreendendo sua própria agência artística na produção de uma cinematografia indígena feminina. Desse modo, deparamo-nos com uma tensão entre fronteiras e suas possibilidades discursivas abertas pela apropriação de tecnologias audiovisuais constitutivas das posições hegemônicas. É a partir dessa fissura que fazemos uma experiência etnográfica de vídeo-cartas, que constituem trocas de mensagens videográficas dos mais diversos temas. Neste projeto, elas existem entre nós duas a fim de mostrar com imagens e sons nossa relação. Como afirma Patrícia: “o que pus para fora estava dentro de mim”.
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Lacunza, Mariana A. "“Digital Aesthetics and Notions of Identity in Contemporary Bolivian Filmmaking” “Estéticas digitales y nociones de identidad en el cine boliviano contemporáneo”." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325178598.
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Anderson, Joshua Tyler Anderson. "The Bodies Belong to No One: Missing and Murdered Indigenous Men in Literature and Law, 1934-2010." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531047437469823.
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Manuelito, Brenda K. "Creating Space for an Indigenous Approach to Digital Storytelling: "Living Breath" of Survivance Within an Anishinaabe Community in Northern Michigan." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433004268.
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Rodriguez, Carmella M. "The Journey of a Digital Story: A Healing Performance of Mino-Bimaadiziwin: The Good Life." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433005531.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Baptista, Valdir. "Registro audiovisual da omissão do estado brasileiro nas políticas públicas de saúde segundo depoimento de lideranças indígenas." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/6/6136/tde-05122016-142523/.
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Método: Trata-se de uma pesquisa qualitativa de cunho documental utilizando o audiovisual como lócus de instalação de depoimentos de lideranças indígenas do Estado do Acre, Brasil. O objetivo é analisar registros de vivências de lideranças indígenas sobre suas condições de vida, como contribuição às políticas públicas do SUS. E apresentar uma proposta interventiva a partir das potencialidades do vídeo documentário. Resultados: A população indígena, por uma série de motivos, certamente é a parcela da população brasileira sobre a qual menos existem dados específicos que permitam o estabelecimento de políticas de saúde pública eficazes. Embora tenham ocorrido avanços significativos no conhecimento das questões indígenas e um crescente empoderamento das lideranças indígenas na luta por seus direitos básicos de cidadania, a situação ainda está aquém do esperado. Temas relevantes abordados: 1. Participação nas instâncias do poder público/ direitos indígenas. 2. Medicina tradicional exterioridade da doença. 3. Dificuldades com o SUS. 4. Cuidados de saúde nas aldeias. 5. Segurança Alimentar e desnutrição. 6. Qualidade da água e saneamento básico. 7. Logística. 8. Cobertura vacinal. 9. Saúde das mulheres indígenas. 10. Ecologia e biodiversidade. 11. Morte de crianças indígenas. Conclusões: 1. A omissão sistemática dos governos em qualificar agentes de saúde indígenas no tocante às intervenções em saúde individual e coletiva e no exercício dos direitos sociais. 2. Falta de empenho do SUS em contratar profissionais com formação especializada para compor as equipes e direções do Sistema de Saúde que atuam nas aldeias e nos postos avançados de saúde no interior do território. 3. Dificuldades de comunicação entre as equipes do SUS e os povos indígenas. Há barreiras de idioma, de cultura e de percepção do processo saúde-doençaMethod: This is a qualitative research that uses the documentary audio-visual like a place of installation register statements of native indigenous leaders of Acre, Brazil. The objective is to analyze records of indigenous leaders from experiences about their living conditions as a contribution to public SUS policies. And present an interventional proposal from the documentary video potentiality. Results: The indigenous population, for a number of reasons, it is certainly the Brazilian population, on which there is less specific data that allow the establishment of effective public health policies. Although there have been significant advances in knowledge of indigenous issues and a growing empowerment of indigenous leaders in the struggle for their basic rights of citizenship, the situation is still below expectations. Relevant topics approached:1. Participation in public authoritys instances / indigenous rights. 2. Traditional medicine - externality of the disease. 3. Difficulties with SUS. 4. Health care in villages. 5. Food security and malnutrition. 6. Water quality and basic sanitation. 7. Logistics. 8. Vaccination coverage. 9. Indigenous women\'s health. 10. Ecology and biodiversity. 11. Death of indigenous children. Conclusions: 1. the systematic omission of governments in qualify indigenous health workers with regard to the individual and collective health interventions and the exercise of social rights. 2. Lack of commitment of the SUS in hiring professionals with specialized training to compose the teams and directions of the Health System that work in the villages and in the outposts of health in the territory. 3. Difficulties in communication between SUS teams and indigenous peoples. There are barriers to language, culture and perception of the health-disease process
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Burke, Brian J. "Indigenous Cooperatives, Corporations, and the State on Brazil's Extractive Frontier: Contemporary and Historical Globalizations." Thesis, Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1632%5F1%5Fm.pdf&type=application/pdf.
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Carroll, Sean M. "Evaluation of Virus Removal by Sandy Soils During Soil-Aquifer Treatment Using Indigenous Bacteriophage as Indicator Organisms." Thesis, The University of Arizona, 1996. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0197_sip1_w.pdf&type=application/pdf.
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Lee, Charles Jason Peter. "Madness and the savage : indigenous peoples of the Americas and the psychology of the observer in U.S. feature films (1975-1996)." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241660.
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Damiens, Caroline. "Fabriquer les peuples du Nord dans les films soviétiques : acteurs, pratiques et représentations." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF013/document.
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Cette thèse porte sur les représentations des peuples autochtones du Nord forgées par les films et téléfilms soviétiques de fiction. Mobilisant plusieurs approches — l’analyse filmique, l’histoire culturelle du cinéma, l’histoire des représentations et l’histoire politique soviétique —, elle confronte les films à des sources non-films (presse, archives papier, entretiens), afin de mettre en lumière la construction d’une subjectivité et d’un regard. Il s’agit également de décortiquer la fabrication des représentations, dans ses dimensions à la fois les plus concrètes et les plus symboliques. En ce sens, la question de la participation ou de la non-participation des autochtones à la création de leur image filmique, que ce soit devant ou derrière la caméra, constitue une autre interrogation centrale. Les représentations filmiques des peuples du Nord, tiraillées en permanence entre visions du « progrès » et de l’« authenticité », opèrent à l’écran comme autant d’images qui permettent à l’Union soviétique d’évaluer sa propre perception de la modernité. Des années 1920 aux années 1980, les figures cinématographiques autochtones circulent entre deux pôles d’un continuum, qui va de l’incarnation d’une arriération à éliminer au nom de la soviétisation à celle d’une harmonie avec la nature, désormais perdue ou menacée. Par ailleurs, en prenant en compte la question de la contribution des autochtones à la création de leur propre image, cette thèse s’attache à montrer que le film constitue un espace complexe, où plusieurs lectures et usages sont possibles selon la position des participantsThis thesis focuses on the representations of indigenous peoples of the North in Soviet fiction films and made for TV movies. Mobilizing several approaches — film analysis, the cultural history of cinema, the history of representations and Soviet political history — it confronts films with non-film sources (press, paper archives, interviews) in order to highlight the construction of a subjective point of view. It also studies the production of these representations, in both its most concrete and symbolic dimensions. The issue of the participation or non-participation of indigenous peoples in the creation of their image on film, whether in front of or behind the camera, is another central question. The filmic representations of the peoples of the North, constantly torn between visions of “progress” and “authenticity,” operate on the screen as images that allowed the Soviet Union to evaluate its own perception of modernity. From the 1920s to the 1980s, images of indigenous people shifted along a spectrum ranging from the incarnation of backwardness to be eliminated in the name of Sovietization to the embodiment of harmony with nature, now lost or threatened. Moreover, taking into account the question of the contribution of the indigenous people to the creation of their own image, this thesis demonstrates that cinema became a complex space, where different readings and uses were possible according to the position of the participants
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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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Rimmer, Matthew. "The Pirate Bazaar: The Social Life of Copyright Law." Thesis, The Faculty of Law, The University of New South Wales, 2001. https://eprints.qut.edu.au/86581/1/fulltext.pdf.
Full textAbstract:
This thesis provides a cultural history of Australian copyright law and related artistic controversies. It examines a number of disputes over authorship, collaboration, and appropriation across a variety of cultural fields. It considers legal controversies over the plagiarism of texts, the defacing of paintings, the sampling of musical works, the ownership of plays, the co-operation between film-makers, the sharing of MP3 files on the Internet, and the appropriation of Indigenous culture. Such narratives and stories relate to a broad range of works and subject matter that are protected by copyright law.
This study offers an archive of oral histories and narratives of artistic creators about copyright law. It is founded upon interviews with creative artists and activists who have been involved in copyright litigation and policy disputes. This dialogical research provides an insight into the material and social effects of copyright law.
This thesis concludes that copyright law is not just a ‘creature of statute’, but it is also a social and imaginative construct. In the lived experience of the law, questions of aesthetics and ethics are extremely important. Industry agreements are quite influential. Contracts play an important part in the operation of copyright law. The media profile of personalities involved in litigation and policy debates is pertinent. This thesis claims that copyright law can be explained by a mix of social factors such as ethical standards, legal regulations, market forces, and computer code. It can also be understood in terms of the personal stories and narratives that people tell about litigation and copyright law reform.
Table of Contents
Prologue 1
Introduction A Creature of Statute: Copyright Law and Legal Formalism 6
Chapter One The Demidenko Affair: Copyright Law and Literary Works 33
Chapter Two Daubism: Copyright Law and Artistic Works 67
Chapter Three The ABCs of Anarchism: Copyright Law and Musical Works 105
Chapter Four Heretic: Copyright Law and Dramatic Works 146
Chapter Five Shine: Copyright Law and Film 186
Chapter Six Napster: Infinite Digital Jukebox or Pirate Bazaar? Copyright Law and Digital Works 232
Chapter Seven Bangarra Dance Theatre: Copyright Law and Indigenous Culture 275
Chapter Eight The Cathedral and the Bazaar: The Future of Copyright Law 319
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Pettersson, Emil. "Native Americans on Screen in 1939 and 2015 : A Postcolonial Study on the Portrayal of the Indigenous People of America in Films and How to Adapt it into the EFL Classroom." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65916.
Full textAbstract:
The essay originates from the idea that the United States has a history of racism evidenced in the displacement and discrimination of Native Americans and that the representation of Native Americans in films reflects the changing views of the indigenous population in the surrounding society. The purpose of this essay is to investigate how the Native American characters are portrayed in western films. Two films are going to be analysed; Stagecoach from 1939 and The Revenant from 2015. The theoretical framework that is used for the analysis is Postcolonialism. The findings reveals that Native American characters are portrayed more humanely in The Revenant than in Stagecoach. By applying the findings into the classroom the students can be given the opportunity to discuss human rights, equal value and solidarity between people, which can lead to reflections about the fundamental values of the curriculum.
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Andrango, Juan Diego. "Políticas de representación audiovisual: Tres experiencias documentales colaborativas y de aprendizaje en comunidades originarias Andinas del Ecuador." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/670992.
Full textAbstract:
La presente tesis doctoral aborda e indaga las experiencias generadas en la realización de tres producciones colectivas audiovisuales con pueblos originarios en la región Andina del Ecuador. Donde, a partir de la posición tomada por los productores y los actores sociales, se constituye en un ejercicio político de intercambio de puntos de vista, constituyéndose así tres formas de ver y construir el documental; primero, un punto de vista de afuera hacia adentro, es decir, una elaboración de lo audiovisual desde la mirada externa desde productor audiovisual hacia la comunidad de Cotacachi-Imbabura (Inti Raymi-Hatun Puncha); segundo, de adentro hacia adentro, que hace referencia al audiovisual generado en un taller de niños y adolescentes en Saraguro, Gera-Loja, en la Agenda por el cumplimiento de los derechos de la niñez y adolescencia Kichwa, para recobrar la memoria histórica en las comunidades kichwas del sur del país: y, tercero, una mirada de adentro hacia afuera en la: “Primera Cumbre Agraria del Ecuador”, realizada en la ciudad de Quito y producida colectivamente, donde se visibiliza el trabajo organizativo de los pueblos originarios.
Históricamente, desde la época feudal, la imagen que tienen los actores sociales y políticos sobre los pueblos originarios del Ecuador ha sido malentendida, debido a componendas coloniales heredadas. Esto ha generado en la colectividad un imaginario social hacia el indígena como un sujeto de segundo, tercero y hasta cuarto orden. Este pensamiento ha sido cómplice del intento de borrar de la memoria indígena (cosmovisión y cosmogonía) el materialismo histórico. Lo que lo ha llevado a una posición de sujeto neutral y pasivo.
Es así como la historia tergiversada y narrada, junto a la llegada de gobernantes autodenominados progresistas en la región, han consolidado una representación de los actores sociales como sujetos pasivos, que no construyen su propia historia. De esta forma, se asume parte de su simbología como un recurso proselitista y populista, utilizado como un objeto de folcklor. lo que lo sitúa dentro del esquema demagógico de la pornomiseria. En esta investigación se aborda el papel que juegan los actores sociales en las producciones audiovisuales y narrativas, develando la hegemonía cultural que ha negado mostrar y ubicar su voz en el lugar donde debería estar.
La investigación se llevó a cabo entre los años 2015 y 2020 y constó de tres etapas: La primera, de indagación teórica, metodológica y la entrada al campo, para combinar la teoría con la práctica y elaborar el marco teórico; la segunda, el trabajo de campo metodológico de acción-participación y, paralelamente, la producción de microdocumentales, como parte del registro de la memoria; finalmente, la devolución a las comunidades de los audiovisuales trabajados, que ahora forman parte del registro de la memoria. lo que resulta en el desarrollo de nuevas nociones y conceptos que sean una herramienta para entender al audiovisual de una forma científica y filosófica (dialéctica) desde los sectores oprimidos.The present doctoral thesis deals with and investigates the experiences generated in the realization of three collective audiovisual productions with native peoples in the Andean region of Ecuador. From the position taken by the producers and social actors, it constitutes a political exercise of exchange of points of view, thus constituting three forms of seeing and constructing the documentary: first, a point of view from the outside in, that is, an elaboration of the audiovisual from the external viewpoint of the audiovisual producer towards the community of Cotacachi-Imbabura (Inti Raymi-Hatun Puncha); second, from the inside out, which refers to the audiovisual generated in a workshop for children and adolescents in Saraguro, Gera-Loja, referring the Agenda for the fulfillment of the rights of Kichwa children and adolescents, to recover the historical memory in the Kichwa communities of the south of the country: And third, an inside-out look at from the “First Agrarian Summit of Ecuador,” held in the city of Quito and produced collectively, where the organizational work of the indigenous peoples is made visible. Historically, since feudal times, the image that social and political actors have of Ecuador’s native peoples is misunderstood due to inherited colonial arrangements. This idea generated in the community a social imaginary towards the indigenous as a second, third, and even fourth-order subject. This thought is an accomplice that attempts to take off the historical materialism from indigenous memory, locating him in a position of a neutral and passive subject. That is how the distorted and narrated history, together with the arrival of selfstyled progressive rulers in the region, have consolidated a representation of social actors as passive subjects who do not build their memoir. In such a way, part of its symbolism is assumed to be a proselytizing and populist resource. It is used as an object of folklore which places it within the demagogic scheme of pornography. This research addresses the role played by social actors in audiovisual and narrative productions, revealing the cultural hegemony that has denied showing and placing their voice where it should be. The research was carried out between 2015 and 2020, consisted of three stages: The first, of theoretical and methodological research and the entry into the field, to combine theory with practice and elaborate the theoretical framework; the second, the methodological fieldwork of action-participation and, in parallel, the production of micro-documentaries, as part of the memory register; finally, the return to the communities of the audiovisuals worked on, which are now part of the memory register. This results in the development of new notions and concepts that are a tool to understand the audiovisual in a scientific and philosophical (dialectic) way from the oppressed sectors.
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Shepherd, Gyde F. "Conveying traditional Indigenous culture: From ethnographic film to community-based storytelling." Thesis, 2013. http://spectrum.library.concordia.ca/978261/1/Shepherd_MA_S2014.pdf.
Full textAbstract:
In the following chapters, I discuss several works of film, video and photography made since the early twentieth century depicting Inuit and other Indigenous peoples of North America. Their creators have been motivated by a desire to produce a record, through various methods of reconstruction, of past ways of life of their Indigenous subjects. In the context of these efforts, the question of how to structure the material to attract and hold the attention of an audience has been a primary concern. The films discussed in chapters two and three exemplify ethnographic filmmaking as a visual and narrative practice of salvage ethnography. In contrast, the films and videos discussed in chapters four and five are examples of Indigenous media—that is to say, media produced by Indigenous people and communities—that make use of ethnographic, or simply cultural, reconstruction in a way that assumes the continuing vitality of Indigenous cultures and a healthy balance between past and present. Focusing on the example of Canada’s first Inuit-made feature-length fiction film, Atanarjuat: The Fast Runner, I argue that the film’s success and significance is grounded in a respect for traditional Inuit storytelling practices and an experiential approach to teaching that uses video as a proxy for directly “showing how,” an effort to make traditional Inuit cultural memory and stories relevant to Inuit and wider audiences in the present and future.
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Andrade, Kl Peruzzo de. "GULE | The masks we carry: intersectional Indigenous storytelling through visual arts narratives, film and community-governance." Thesis, 2020. http://hdl.handle.net/1828/12159.
Full textAbstract:
This thesis documents and discusses the production of a film about the Gule Wamkulu Mask Dance, in the village of Mzonde, in the area of traditional authority of Nkanda, Malawi. Through an Ubuntu framework of place-based epistemology, critical race theory and the principles of Indigenous research, I describe my journey of self-reflection about what it means to be Caá-Poré Cafuzo and how I came to understand belonging in the context of diasporic, Black and Indigenous relationships and governance.Graduate
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Debenham, Jennifer Anne. "Representations of Aborigines in Australian documentary film 1901 - 2009." Thesis, 2013. http://hdl.handle.net/1959.13/1038027.
Full textAbstract:
Research Doctorate - Doctor of Philosophy (PhD)This thesis examines the ways in which Indigenous Australians have been represented in twelve documentary films made in Australia between 1901 and 2009. As historical artifacts, the films examined provide an emblematic visual representation of the scientific, political and social debates about Indigenous Australians that were in play when they were produced. The purpose of the thesis is threefold: to explore the role of documentary film in representing Australia’s Indigenous peoples to a dominant white Australian audience over a long period of time; to trace the ways changes in film and camera technology, policy making and social attitudes have collectively altered the relationship that Indigenous Australians have with documentary film as a medium of communication; and to demonstrate how changes in the process of making documentary films over the past century has been a force for both change and empowerment for Indigenous Australians. Although, some of the earliest documentary films made in Australia were about Indigenous Australians, as a collection they have not been the subject of serious study. Making films about Indigenous Australians initially had close connections with science, both natural and medical. This helped to re-enforce and sanctify the ‘objectification’ of Indigenous Australians as subjects of scientific enquiry within the context of the discourse of Social Darwinism. The visual images contributed to their positioning as the anthropological Other in which they were considered as outside of history; an image that is now under challenge by contemporary Indigenous filmmakers. It was not until the middle of the twentieth century that Indigenous Australians began to emerge from these ethnographic narratives. Documentary films made from that time began to recognise that Indigenous Australians were living in the political and social present. Public perceptions about how Indigenous Australians were coping with the dispossession of their traditional lands and living at the interface of two ideologically opposed cultures were dramatically challenged. As changes in perception continued to shift in the 1970s and 1980s, astute white documentary filmmakers began to collaborate with Indigenous people to make films about their lives. These filmmakers recognised that Indigenous Australians had a lot to talk about and with access to funding available from recently established public instrumentalities, filmmaking about Indigenous Australians reflected the changing attitudes about Australia’s Aboriginal people. By the latter years of the twentieth century, a vibrant and dynamic Indigenous film industry was emerging in Australia. With Indigenous filmmakers and technical experts in control of film production, white Australians have been witness to further shifts in the ways in which Indigenous Australians are represented on film. Indigenous filmmakers with a more intimate understanding of cultural protocols and with a high degree of social investment are taking on the responsibility of representing the Indigenous perspective on film. They have taken the medium that once positioned them as a people on the brink of extinction and are now demonstrating their acuity and skill with the visual medium. Their innovative and dynamic approach to the craft defies earlier preconceptions of a primitive and static culture unable to participant in a modern Australia.
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Chen, Yi-Zong, and 陳義宗. "Showing Up and Speaking Out—Indigenous Documentary Filmmakers’ Life Course, Ethnic Identity, and Film Making." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/6aa7zg.
Full textAbstract:
碩士國立臺灣大學
新聞研究所
102
Indigenous documentary filmmakers use video camera to shoot their own ethnic group and convey indigenous identity and ideology which they are aware of. Documentary films made by these filmmakers not only conserve the aboriginal traditional culture, but also establish the counter-discourse to resist against hegemony from mainstream society and put indigenous subjectivity into practice. This study applies life course analysis to explore indigenous filmmakers’ life experiences which are intertwined with their ethnic identity and broader social context factors. This study finds that tribal life experience is the key factor in shaping the indigenous identity and awareness of these filmmakers. The relationship between filmmakers’ tribal experience and their indigenous identity can be identified as two groups including “conflict-type” and “harmony-type”. This study also reveals that indigenous documentary filmmakers pursue “self-realization” and take social action through filmmaking. Their struggles to pursue indigenous subjectivity reflect and consistent with the development of indigenous rights in Taiwan.
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Summerhayes, Catherine. "Film as Cultural Performance." Phd thesis, 2001. http://hdl.handle.net/1885/49365.
Full textAbstract:
This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s 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 society’s relationship with indigenous Australians. ...
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Louw, Elizabeth. "Voice, text, film; producing multimedia texts in South Africa – a case study of ‘The Medicine Bag’." Thesis, 2007. http://hdl.handle.net/10539/2141.
Full textAbstract:
Student Number : 8707660F -
MA research report -
School of Literature and Language Studies -
Faculty of HumanitiesThis paper considers the interaction between the process of producing a documentary video film ‘The Medicine Bag’ and an indigenous knowledge system from the Northern Cape where herbalists or traditional healers are known as ! aixa (Qaiga). These healers use indigenous plants and other raw materials, sounds, rubbing or massaging techniques, incisions and other methods to heal or to harm members of the community. The Schwartz family, Namas who hail from this region, have for many years passed the knowledge and the skills for healing on from generation to generation. For as long as the family can remember, members of each generation, specially gifted and interested in acquiring these skills, have been selected and trained to recognise and harvest medical plants, prepare medicines and apply the various skills required to heal the sick. The raw herbs, potions and medicines have been kept in a medicine bag, made from a tanned springbuck hide. Research for a documentary video to record oral accounts and practices attached to the medicine bag, revealed various themes related to the interaction between oral accounts and the process of recording and transcribing these narratives. These themes included the absence of a fixed storyline or a single ‘correct’ text as is often assumed when one engages with written literature; shifts in meaning that occur when the physical forms of the accounts change as each recording or re-editing acquires a ‘performative aura’ and issues such as the importation of cultural authority and resources on the participants, their active participation in the process of memory and archive creation as well as the impact of the process on the filmmaker/researcher that included an enriched understanding of the scope and possibilities of working with oral texts
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Hunt, Marie Loreen. "Identity Through A Journey With Our Ancestors." Thesis, 2014. http://hdl.handle.net/1828/5672.
Full textAbstract:
Relationships and connections with our traditional, spiritual, cultural practices, and the physical landscapes of our traditional territories are inherent to our Kwagu’ł being. This thesis research explores how developing relationships with landscapes contributes to cultural identity. My research project focuses on using digital video to document an experiential journey of Kwagu’ł community members as they experience a Kwagu’ł origin site in their traditional territories of T’sax̱is (Fort Rupert, BC), a small remote village on northern Vancouver Island. I specifically examine how being in a particular place might influence their identification processes as they reflect on Kwagu’ł practices, values and beliefs. According to our Kwakwa̱ka̱’wakw nino’gad (knowledgeable ones), wellness balances and integrates the physical, emotional, mental and spiritual elements of our being. The disruption of these fundamental elements of wellness is a legacy of Indigenous people’s encounter with colonialism. These factors ultimately affect our behaviour, and therefore, our identity.
In this film, titled “Identity Through A Journey With Our Ancestors”, I explore: 1) how an experiential journey to Kwagu’ł origin sites contributes to a Kwagu’ł person’s perception of who they are and where they come from; 2) how Kwagu’ł people develop a coevalness with their ancestors, their ancestral ontological practices, teachings and ideologies; and ask 3) how Kwagu’ł people should embody this knowledge so that it creates meaningful connections to Kwagu’ł identity in light of socioeconomic and cultural changes of our contemporary environment?
This paper accompanies the film and elaborates on the deeper understanding of cultural identification practices of aboriginal people that stems from a discussion of origin sites and their meanings. K’waxalikala (tree of life) frames this inquiry, and it illustrates relationships and connections that are important to our life-long learning both on an individual and collective basis.Graduate
mariehunt@cablerocket.com
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Proverbs, Wendy Marjorie. "Designing culture: intersections of Indigenous culture at the First Peoples House, University of Victoria." Thesis, 2011. http://hdl.handle.net/1828/3763.
Full textAbstract:
In 1997 the University of Victoria began to develop a vision for a First Peoples House
with the objective of constructing a welcoming Coast Salish home on the university
campus. This vision was realized in 2009 when the First Peoples House opened to the
university community and public. Goals stemming from early discussions of a First
Peoples House included a house that would support Indigenous culture, community
events, and showcase Indigenous art. The First Peoples House represents a case study of
how Indigenous artists and their material culture intersect with new Indigenous
architecture. This paper is a supporting document to accompany a documentary film
showcasing Indigenous artists and key players who participated in the development of the
First Peoples House. The purpose of this paper and film is to document developmental
stages of the First Peoples House that includes material culture—“art”—embedded within
the architecture of the house. Nine interviews include the artistic vision of six artists
whose work is represented in the house, and three individuals who were involved in early
developmental and current phases of the First Peoples House. The research is placed in a
historical context respecting the relationship between Indigenous architecture, residential
schools, space and place and material culture. Film adds another dimension to the scope
of this paper. Together, the paper and film form a visual and critical analysis highlighting
historical shifts along with contemporary understandings of cultural narratives, material
culture, Indigenous culture and architecture as integrated within the First Peoples House
at the University of Victoria.Graduate
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Porybná, Tereza. "Kulturologický pohled na vývoj vizuálních a audiovizuálních reprezentací domorodých kultur." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-305938.
Full textAbstract:
English Summary This dissertation primarily aims to synoptically place the theme of audiovisual representations of indigenous cultures within the context of cultural studies. With its interdisciplinary overlapping, the cultural studies approach is well suited to understanding the complex significance of visual representations of culture, which are both cultural artefacts and cultural interpretations and have an impact that is as artistic as it is scientific and political. The first part of the work describes the manner in which native cultures are audio-visually represented, especially in ethnographic photographs and films which emerged in the North American and European context. The mapping of "exotic others" intensified with the first modern overseas discoveries, first by means of exhibitions of living natives, illustrations and figurines, later through photographs, films and videos. These representations were significantly influenced by the socio-cultural conditions in which they arose. As late as the turn of the 20th century, there was a dominating conviction about the capability of photographs to present an objective record of reality. This technology was therefore used as an instrument for recording and classifying physical and cultural differences. The widespread acceptance of the doctrine of...
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江孟勳. "The use of video teaching material in Culture of Indigenous Peoples in Taiwan in History Teaching at Junior High School-- Take the film " Seediq Bale " as an example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/s3t9ba.
Full textAbstract:
碩士國立嘉義大學
應用歷史學系研究所
106
Based on the experience of self-teaching, this research provides the resources of the aboriginal education film and television teaching resources of the history teachers in the course of the history of the country with the "Sidek Bale" as the auxiliary textbook for the history education of the aborigines. And the reason why this study (the) will choose the movie "Sidek. Bale, in addition to the plot in the film itself, the overall atmosphere is a major feature, the entire film is basically based on historical facts, for the students in the country, in addition to the cold words, but also Learned to break the historical conception of ethnic discrimination and Han people, and perfectly interpret the historical education of contemporary Taiwan for the integration of the group--"Everyone in Taiwan, everyone is Taiwanese" gives a description of the historical plot. Through a series of teaching guides, the historical teaching content presented in the textbooks should be matched with the scenes in the historical film. In addition, according to the feedback of the students, the historical education aid through the film history can definitely increase the historical impression of the students. Guide their interest in the humanities and understand the understanding of Aboriginal culture. Key Words: Film and television teaching, History education, Taiwan aboriginal culture, Seediq Bale
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Mclaurin, Virginia A. "Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media." 2012. https://scholarworks.umass.edu/theses/830.
Full textAbstract:
This thesis examines the ongoing trends in depictions of Native American Indians in popular mainstream media from the last two decades. Stereotypes in general and in relation to Native American Indians are discussed, and a pattern of stereotype reactions to colonists’ perceived strains is identified. An analysis of popular television shows, movies, and books with contemporary Native characters will demonstrate new trends which we might consider transformed or emerging stereotypes of Native people in non-Native media. These trends will not only be shown to have emerged from more general national and regional stereotypes of Native identity, but will also demonstrate a continuation of the historical willingness of colonists to rely on more virulent Native stereotypes in cases where they perceive some Native threat. Particular attention will be paid to the denial of Indian identity in the southeast and northeast through comedy and mockery and, on the other hand, the exaggeration of Indian identity in the western United States through shape-shifting, paranormal encounters, mystery, and more conventional Native interests. At the end of the thesis, some possible methods for grappling with these problematic portrayals will be discussed.
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Iku, S. Aciang, and 阿將伊崮喜瀾. "Analysis and Reflect on the Effectiveness of Applying Film-based Instruction and Digital Game-based Learning to Taiwan Indigenous Culture Education– A Case Study on Paiwan’s Raval Culture of Medicinal Plants." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/raaef7.
Full textAbstract:
碩士國立臺灣科技大學
數位學習與教育研究所
104
Paiwan indigenous medicinal plants has always been a hardest exploration range of ancient culture in Taiwan indigenous traditional knowledge owing to the difficulty of finding these rare species of plants. Moreover, sometimes it is difficult to derive knowledge due to the pass away of the seniors and the uncertainty of the knowledge. In this study, we adopt culture of medicinal plants as the theme for designing a script of a vivid film for teaching people how to use and name a native title of Paiwan medicinal plants, including the way of analyzing whether the plants are on the danger of extinction and how to seek multiply seed sources. It is expected that the file can enhance the learners’ impression and comprehension. On the other hand, we also develop a role-playing game based on the same content. Moreover, an experiment is conducted to compare the “learning achievement”, “technology acceptance ”, “affection and behavior’s attitude for medicine plants’ culture”, “Cognitive Load” and “ flow experience ” of the film teaching group and the digital game-based learning group. The results showed that after using the learning tools, both groups had significant difference in learning achievement. In addition, the members in the film group had better performance in “self-efficacy”, “technology acceptance”, and “affection and behavior’s attitude for medicine plants’ culture”. Besides, in the result of “flow experience”, compared with the game learning group, the members of film group were easier to immerse in the learning environment, which leads to lower cognitive load and they were more satisfied with the learning tool and had more positive behaviors.
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St-Louis, Lamoureux Ariel. "Le documentaire collaboratif : enjeux et pratiques artistiques sous l’angle des dynamiques autochtones-allochtones." Thèse, 2019. http://hdl.handle.net/1866/23779.
Full textAbstract:
Ce mémoire de recherche et création propose une étude théorique et artistique des démarches collaboratives en cinéma documentaire. Les enjeux contemporains de la représentation de l’Autre poussent les artistes documentaires à développer des méthodologies innovantes où les relations de pouvoir entre filmeur.euse–filmant–filmé.e sont reconceptualisées. Les volets théorique et créatif de ce mémoire réfléchissent ces enjeux sous l’angle des dynamiques autochtones-allochtones au Mexique et au Canada.
Le premier chapitre se penche sur les relations de pouvoirs coloniales ancrées dans nos sociétés contemporaines et perpétuées dans l’exercice documentaire. L’approche collaborative se présente alors comme une option empruntée par plusieurs artistes, dont Roberto Olivares Ruiz et Iphigénie Marcoux-Fortier. Le chapitre deux se consacre ainsi à l’analyse de leur travail. Les considérations éthiques et pratiques étudiées ont servi au développement du court-métrage Segunda Piel; le chapitre trois expose donc les caractéristiques de la collaboration et du processus créatif qui ont été menées. Enfin, le mémoire conclut en évaluant les limites et les réussites de l’approche documentaire collaborative au niveau du processus créatif et des relations de pouvoirs qui s’y trouvent.This research-creation master’s thesis proposes a theoretical and artistic study of collaborative approaches in documentary film. Contemporary issues of the representation of the Other push documentary artists to develop innovative methodologies where power relations between filmmaker—filming equipment—filmed are reconceptualized. The theoretical and creative components of this thesis consider these issues from the perspective of indigenous—non-indigenous dynamics in Mexico and Canada. The first chapter examines the colonial relationships of powers rooted in our contemporary societies and perpetuated in the documentary exercise. The collaborative approach is presented as an option borrowed by several artists, including Roberto Olivares Ruiz and Iphigénie Marcoux-Fortier. Chapter two is devoted to analyzing their work. The ethical and practical considerations studied served the development of the short film Segunda Piel; therefore, chapter three outlines the characteristics of the collaboration and the creative process that have been carried out. Finally, the thesis concludes by measuring the limits and successes of the collaborative documentary approach in regard to the creative process and inherent power relations.
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Hsieh, Chia-Ling, and 謝佳玲. "Indigenous Documentary films in Taiwan:Aesthetic Perspectives on Director's habitués." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/dg2dt2.
Full textAbstract:
碩士國立東華大學
民族藝術研究所
96
Since mid 1990, Indigenous directors in Taiwan have represented their socio- cultural and ethnic awareness, with reflection towards lives, on the medium of documentary films. Historical perspectives from main stream could not be seen in those documentaries, instead, critical thinking and social reflections applied within those films. However, conventional academic discourses rarely involve topics such as filming types of individual directors and how they interpret. This thesis mainly focus on various filming types with reflection of directors’ perspectives. The film scenes have embedded relations of conceptual contexts and filming types. Discussion of the relations would provide another path to film studies which often spotlight on social issues and style. Based on Pierre Bourdieu’s concepts of field, culture capital and habitués, this thesis explores mindset of selected Indigenous directors, by method of deep interviews. Moreover, this thesis analyzes documentaries’ filming type, following Bill Nichols’s concept of Documentary Modes of Representation, and the characters of documentary filming types. This thesis further discusses the conceptual minds on objects and subjects, film makers’ habitués and how those conceptions evolved in selections of picture scenes.
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McClellen, Kristen Lee. "Biodegradation of trichloroethylene by bacteria indigenous to a contaminated site." 1986. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1986_564_sip1_w.pdf&type=application/pdf.
Full text
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Plyley, Kathryn. "Tolerated illegality and intolerable legality: from legal philosophy to critique." Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9259.
Full textAbstract:
This project uses Michel Foucault’s underdeveloped notion of “tolerated illegality” as a departure point for two converging inquiries. The first analyzes, and then critiques, dominant legal logics and values. This part argues that traditional legal philosophers exhibit a “disagreement without difference,” generally concurring that legal certainty and predictability enhance agency. Subsequently, this section critiques “formal legal” logic by linking it to science envy (specifically the desire for certainty and predictability), and highlighting its agency- limiting effects (e.g. the violence of law en-force-ment). The second part examines multiple dimensions of tolerated illegality, exploring the permutations of this complex socio-legal phenomenon. Here the implications of tolerated illegality are mapped across different domains, ranging from the dispossession of Indigenous peoples of their lands, to the latent ideologies embedded in superhero shows. This section also examines the idea of liberal “tolerance,” as well as the themes of power, domination, politics, bureaucracy, and authority. Ultimately, this project demonstrates that it is illuminating to study legality and (tolerated) illegality in tandem because although analyses of “formal legality” provide helpful analytical texture, the polymorphous and entangled nature of tolerated illegality makes clear just how restricted and artificial strict analyses of legality can be.Graduate
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Hsin-O, Lin, and 林杏娥. "Rationality and Sensibility: Hu Tai-li's Ethnographic Films on Indigenous peoples in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/r24b24.
Full textAbstract:
碩士國立臺東大學
公共與文化事務學系南島文化研究碩士班
100
This thesis attempts to understand the four ethnographic films about Indigenous peoples in Taiwan, which were directed by the Taiwanese anthropologist Hu Tai-li. The aim is to interpret the narrative strategy and the aesthetic in the films, as well as explore their significance in the history of Taiwanese ethnographic film. Hu Tai-li is a first pioneer in the field of ethnographic film on in Taiwan. In 1983, she began to collect footages for her ethnographic films. From then on, Taiwanese ethnographic study is no longer limited in written forms, but open to a new stage of research aspect which contributes to achievements in ethnographic study. In 1983, Hu, Tai-li returned to Taiwan from the US. During 1983 to 2011, altogether she directed 4 ethnographic films on indigenous peoples, which are “The Return of Gods and Ancestors: Paiwan Five Year Ceremony”(1984), “Songs of Pasta'ay” (1988), “Voices of Orchid Island” (1993), “Sounds of Love and Sorrow” (2000). Each of these films has its cultural perspective in the ethnographic field. Also, the director's unique and visual aesthetic is embedded in those films. Those films, shaded in light and shadows as well as blended with scientific rationality and artistic sensibility, give rise to a wide attentions of anthropologists. Additionally, these films cause the public to contemplate and reflect on issues related to the fields. In This thesis, it begins from the development history of the ethnography, the image ethnography and the Taiwan indigenous ethnographic films.The attempt and correlation of literature the ethnographic film carries on the dialogue, and then, tries to describe these contents in four films, and through Hu Tai-li 's film to produce the systematic article and the written ethnography, which is further to understdand in the cultural messages of the film . Then, under the core question to inquire Hu Tai-li 's ethnographic films and narrative strategy, this thesis extends to inquire about the lucky chance , the narrative strategy, the style in which Hu, Tai-li take these films, as well as the aesthetic characteristics. I think Hu Tai-li continuously tries to use the imagery to produce a social practice on the anthropology knowledge, which is expectedly to do the contribution on the cultural communication, succession and reflection. She takes the ethnographic film of the indigenous, which not only focus on the record but also hope through recording and displaying, it can stimulate multi-level cultural reflection. Hence, she particularly concentrates on the rationality and the sensibility in the film to expression various types on the narrative, which also promotes the film to aesthetic level. This expression on the film is unique and leads the course of Taiwan anthropology display another research’s achievement. At the same time, she will extend ethnographic film to common people and through transmission of imagery, interpret the local culture and stir up the reflection on different culture
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Bertrand, Karine. "Le cinéma des Premières Nations du Québec et des Inuit du Nunavut : réappropriation culturelle et esthétique du sacré." Thèse, 2013. http://hdl.handle.net/1866/10125.
Full textAbstract:
Résumé
Cette thèse de doctorat porte sur le cinéma envisagé comme un agent de réappropriation culturelle pour les Premières Nations du Québec et les Inuit du Nunavut. De manière plus spécifique, nous avons cherché à comprendre comment les peuples autochtones et inuit se servent d’un médium contemporain pour prendre la parole, revendiquer leurs droits politiques et réécrire une histoire ayant été jusqu’à récemment racontée selon le point du vue de médiateurs externes.
À cet effet, l’emprunt d’éléments propres aux méthodologies autochtones, autant dans la forme que dans le contenu, auront permis de faire ressortir un aspect particulier des cultures autochtones, soit la manifestation d’une pensée orale centrée autour de la notion du sacré. La première partie de cette recherche est ainsi consacrée à la théorisation d’un sacré autochtone omniprésent dans toutes les sphères de leur quotidien, et qui se transpose à l’écran sous la forme d’une esthétique particulière, que nous nommons esthétique du sacré.
En outre, le visionnement et l’analyse de courts et de long-métrages autochtones et inuit ont fait ressortir avec force les principaux éléments d’une esthétique du sacré qui s’exprime entre autres à travers une éthique de travail privilégiant la collaboration communautaire et une écoute attentive de la parole de l’interlocuteur, ainsi qu’à travers la remédiation des récits issus de la tradition orale. Ainsi, l’exploration de l’œuvre documentaire d’Alanis Obomsawin met de l’avant l’importance du rôle joué par les femmes autochtones au sein de leurs communautés, celles-ci se présentant comme les principaux agents de changement et médiatrices de leur culture. Dans la même veine, l’étude du projet Wapikoni Mobile nous a permis d’esquisser un portrait nouveau de la jeunesse autochtone, les œuvres réalisées par ces cinéastes néophytes reflétant l’importance pour eux de réactualiser la tradition tout en nourrissant des liens de confiance avec leurs aînés, ces gardiens de la mémoire. Enfin, le dernier chapitre portant sur l’élaboration d’une nouvelle cinématographie inuit démontre comment le cinéma est un outil apte à traduire avec justesse les subtilités présentes dans les récits issus de la tradition orale.This Ph.D. dissertation addresses the subject of First Nations and Inuit cinema, in Quebec and Nunavut. More specifically, we examine the role of cinema as an agent of cultural re-appropriation for Indigenous and Inuit communities, who have been using a western and contemporary medium to both claim their political and economic rights, and re-write a history that, until recently, has been told by external mediators. Therefore, choosing to borrow elements found in indigenous methodologies, will have allowed us to bring into light a particular aspect of First Nations cultures, i.e. the manifestation of an oral thought process centered on the notion of the sacred. The first part of this thesis is thus dedicated to the theorization of the sacred, a notion that is envisioned by the First Nations peoples as a way of life that can be transposed on-screen through what we chose to name the aesthetics of the sacred. Furthermore, the viewing and analysis of short and long-length films have allowed us to identify the principal elements of an aesthetic of the sacred that reveals itself in the work ethics of the filmmakers (participation of the community in the filmmaking process, attentive listening by the filmmakers of the person speaking) as well as in the remediation, on-screen, of oral tradition. Thereby, the exploration of Abénaquis filmmaker Alanis Obomsawin’s documentary films has put forward the importance of the role played by native women in their communities, the latter remaining the principal agents of cultural change as well as the mediators of their stories and cultures. In the same way, examining the contents of the short films produced by the young Wapikoni Mobile filmmakers has allowed us to discover new facets of native youth, the majority of those short films reflecting a desire to update tradition while building relationships based on trust with the elders of their community. Finally, the last chapter addressing the subject of Inuit cinematography, demonstrates how cinema presents itself as the medium most fit to translate accurately the subtleties found in stories hailing from oral tradition.
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che-yen, Chen, and 陳哲彥. "The relationship between human resource management and firm performance-the comparison of indigenous and foreign firms in Taiwan." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/03795206025918486139.
Full textAbstract:
碩士國立中山大學
人力資源管理研究所
86
Human resource is one opportunity for firms to gain unique competitive advantages when many of them are easier aped. Firms can succeed from factors other than human resource, which are easily aped and will increase latent damage to the firms, therefore, human resource management is the key for firms to succeed Firstly, this research compares the discrepancies of human resource activities between indigenous and foreign firms; secondly, it analyses the relation between human resource management and firm performance; thirdly, it searches for the best practices of human resource management in Taiwan. The results of this research indicate that: 1. Firms of different investment states have no discrepancy on all activities other than recruitment. 2. "Union" has discrepancy on industrial relation; "Human resource department" has discrepancies on training and industrial relation. 3. Firms of different investment states have no discrepancies on financial index, non-financial index and firm performance. 4. Training has positive relation with financial index; training and industrial relation has positive relation with non-funancial index and firm performance. 5. Training has positive effects on financial index; training and industrial relation has positive effects on non-financial index and firm performance. 6. High performance group has discrepancies with low performance group on performance appraisal, promotion, training, compensation and industrial relation. 7. Training and industrial relation has positive effects on promoting firm performance. Considering the results mentioned above, some suggestions are made for both firms and further researches in this field.
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Wang, Chiu-Chin, and 王秋今. "The Environmental Traumas of Taiwan Indigenous People:Taking the Documentary Films" Beyond Beauty – Taiwan From Above", "Ali 88", and "Kanakanavu Await" as examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/8gf8q2.
Full textAbstract:
碩士國立中興大學
台灣文學與跨國文化研究所
105
This thesis investigates the narratives of eco-traumas in three documentary films including “Beyond Beauty – Taiwan from above” directed by aerial photographer Chi Po-lin, “Ali88” directed by Huang Hsin-yao, “Kanakanavu await” directed by Mayaw Biho. We try to reveal the potential living obstacles of Taiwan indigenous people by analyzing the camera angles. The concept of “eco-trauma” introduced by Dr. Anil Narine addresses one inconvenient truth that we, as human, may subconsciously tend to ignore the environmental damage caused by the global economy development because of the convenience it brings to our daily life. We wish to take actions to protect the environment but failed to do so. We respond to the global environmental crisis with this paradoxical mentality. The eco-trauma includes the environmental degradation caused by human activities and the harm nature does to human. The three documentary films record the environmental degradation of land, forests, and rivers in Taiwan and reflect the connection between human and nature. Therefore, they could be categorized as the “eco-trauma cinema”. Nowadays, the environmental degradation of Taiwan is getting more and more serious, we tend to escape or to ignore the environmental crisis under the mental condition of eco-trauma. The victims of pollution are usually the underprivileged people of Taiwan society, including the indigenous people. Therefore, this thesis focuses on the land eco-trauma in the film “Beyond Beauty – Taiwan from above”, the forest eco-trauma in “Ali88”, the river eco-trauma in “Kanakanavu await”. Then I analyze the narrative strategies in the films that the directors used to reveal the eco-traumas of indigenous people by using different shooting styles. At the end, I discuss the deep issues of indigenous people’s eco-traumas from three perspectives including environmental justice, reflection on natural disasters, and ceremonial heritage. By discussing the eco-trauma issues, I expect that the obstacles in indigenous people’s living environment could be understood and the justice be promoted, and the indigenous people would be able to live with their own ethnic characteristics on the island.
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Tchouaffe, Olivier Jean. "Cameroonian Cinema and the films of Jean-Marie Teno : reflexion on archives, postcolonial fever and new forms of cinematic protest." Thesis, 2006. http://hdl.handle.net/2152/29681.
Full textAbstract:
This work argues that Cameroonian cinema is in the thick of cultural reclamation and human rights debates in the country. The crux of the problem is this: in a country colonized for over a century by three major western powers (Germany, France and Great-Britain), what is left of Cameroonians and their indigenous culture? Did colonialism demolish them into a mass of emasculated cultural bastards led by self-loathing elites locked into the country colonial archives, or did some withstand that colonial onslaught to reclaim their humanity, from within, consistent with a genuine, homegrown progressive indigenous culture? To answer these questions, this author argues that three propositions have to be considered: first, for any forms of cultural reclamation and human rights, denials of the past mixed with official thought control do not work in the case of Cameroon. Second, within, this logic, only grassroots democratic and marginal media communication theory can help the viewer to understand how Cameroonian cinema interrogates and critiques the naturalizations of a neo-colonial political order through the construction of counter hegemonic voices. Third, it is essential to show how these counter hegemonic cinematic narratives are building new forms of democratic archives out of the colonial ones. Consequently, this author claims that Cameroonian cinema, one of the few independent media of communication, that for decades has both managed to resist dictatorship and thrive, is keeping a steady drumbeat of freedom on behalf of ordinary Cameroonians by consistently targeting the state in order to demonstrate the dangers of an institution uninterested in the work of cultural reclamation by not allowing proper conditions for artists to create original work. These confrontations with the state give Cameroonian cinema a cachet to voice human rights questions as well. As a result, cinema blurs the line between art and social activism. It brings a new mystic to human rights' work because these filmmakers demonstrate that culture and human rights can no longer be consigned to the margin of Cameroonian society. What is at stake, it is the knowledge that the road ahead, Africa’s future, lies with those with the skills to take advantages of technologies and the contemporary global discourse of human rights, democracy and globalization not the same old beaten paths of neo-colonial clientelism and patronage, lower standards of governance, defining actual Cameroon’s neo-colonial state practices. With this background, both filmmakers and human rights activists are forcing the state to take notice. This work indicates that arguing against technologies and global flows in our contemporary world is akin to try carrying a cat by the tail.text
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Ho, Min-Lin, and 何旻凌. "The Effect of Human Resource Management Systems on Firm Performance ---Take the Indigenous Firms in Taiwan and Taiwan Firms in Mainland China for Example." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/68673258816074686662.
Full textAbstract:
碩士國立中山大學
企業管理學系研究所
89
In the recent years, a lot of Taiwan firms shut factories and turned to invest their capital in Mainland China. This situation reflects that the investment conditions in Taiwan are not as good as before. On the contrary, China has plenty of labor forces and their wage rate is much lower than Taiwan. Besides, China is an extensive market and abundant in natural resources. Many famous businesses in the world seize the chance of investing in China and get the market share. The first purpose of thesis is that analyzing the differences of HR values, competitive strategies, HRM systems, and firm performance between the indigenous firms in Taiwan and Taiwan firms in Mainland China. And the second purpose is that using all the samples to examine the effect of HRM systems on firm performance. This research collected data by issuing and mailing questionnaires. Effective questionnaires of indigenous firms in Taiwan sent back are 182 and effective rate is 10.11%; effective questionnaire of Taiwan firms in Mainland China sent back are 119 and effective rate is 19.01%. By using statistical method, the results are as follows: 1. There are significant differences in “HR values” and “firm performance” between indigenous firms in Taiwan and Taiwan firms in Mainland China. The result shows that Taiwan firms in Mainland China put more emphasis on HR values and has better performance than indigenous firms in Taiwan. 2. “HR values” and “competitive strategies” have positive effects on “HRM systems”. Besides, setting up an independent HR department also has positive effects on “HRM systems”. The result indicates that if the top managers put more emphasis on human resource management and adopt differentiation strategies, the firms are more likely to use “make-organic” HRM systems. 3. “HR values”, and “competitive strategies” have positive impact on “firm performance”. This result shows that if the top managers put more emphasis on human resource management and adopt differentiation strategies, the firms will get better performance. According to the results above, this study suggest that we should take human resource as the most important asset of the business, and set up an independent HR department to manage human resource and make good use of it. In addition, we should adapt the “make-organic” HRM systems in order to improve performance. v
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Emerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000." 2003. http://hdl.handle.net/2440/42129.
Full textAbstract:
France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics. For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975). In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature. In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned.Thesis (Ph.D) -- School of Humanities, 2003
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Emerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000." Thesis, 2003. http://hdl.handle.net/2440/42129.
Full textAbstract:
France and Australia possess such distinctive national traits that they are not habitually compared in relation to their history, identity and culture. However, their national cinemas reveal that they have much in common. A significant number of recent films from both nations bear the mark of a similar obsessional quest for national identity that is linked to the exploration of a troubled colonial past. This shared preoccupation constitutes the starting point for this thesis, which compares the representation of colonial history in the cinema of France and Australia since 1970. It is of course evident that the two nations have had widely differing experiences of colonisation. Modern France is among the ranks of the major empire builders, and Australia is the product of one of Great Britain's most successful colonies. If neither nation can forget its colonial past, it is also for different reasons: France is the principal destination of migrants from her former colonies, and Australia faces landrights claims from her indigenous populations. If these differences provide the distinct social, political and geographical contexts of French and Australian cinema, they do not, however, impinge upon the stylistic and ideological analysis of their colonial thematics.
For the purposes of this thesis, three fundamental criteria determine the inclusion of a film in the corpus: it must have an historical colonial setting; its narrative must focus principally on aspects of the colonisation process; and its director must be a descendant of the former colonisers. Around a dozen films released since 1970 in each country have been identified as matching these criteria and, for the purposes of the thesis, have been called postcolonial films. The content and structures of the films dictate the analytical approach and theories are drawn upon as tools when needed. These theories are widely varied across the disciplines and the theorists include Pierre Sorlin, Edward Saïd and Albert Memmi. The approach to representing colonial issues varies widely, with the majority of the films in the corpus neither appearing to confront openly nor to support the ideology of colonialism. Two exceptions are Coup de torchon (Tavernier, France, 1981) and The Chant of Jimmie Blacksmith (Schepisi, Australia, 1978). More typical of the ambivalent treatment of colonialism are the popularly attended films such as Indochine (Wargnier, France, 1991) and Picnic at Hanging Rock (Weir, Australia, 1975).
In the first chapter an analysis of the relationship of the films to documented history demonstrates that French films are frequently set during the period between 1910 and 1950, and Australian films during the last half of the nineteenth century. The following chapter examines the relationship of the colonisers to their colonised lands and asks if the exceptional attention paid in all the films to the colonial geography has the effect of assimilating an alien landscape into the Western settlers’ culture and mythology. The following two chapters address the core element of colonial life - in Franz Fanon's terms - its division into two worlds. The first of these chapters examines the interaction between the coloniser and the colonised through individual relationships between the two, and addresses the problem that all of these relationships end in permanent separation. The following chapter explores the interaction between coloniser and colonised as social groups that are divided by notions of race and discusses the general epistemological problem of the representation of the Other. The fifth chapter analyses the symbolic mechanisms being used to structure the films and manipulate the unconscious effect on the viewer. For example, there are a number of films with journeys of some kind, orphan-like characters and characters with strong noble savage qualities. Finally, the sixth chapter compares two of the films to the books from which they are derived. The object of this double comparison is to isolate differences in the films which are better explained by changing colonial politics than by inherent differences between cinema and literature.
In the conclusion, it is argued that there appear to be few sustained attempts at confronting and resolving the problematic aspects of colonialism’s legacy. This is especially evident from the predominance of fictitious stories over the depiction of actual documented events. This tendency in both the French and Australian cinemas to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and thus avoiding the necessity of dealing with it. A further notable tendency was the preference for selecting certain periods and avoiding others, hence stripping the colonial past of its most embarrassing aspects. For example, no film could be found which showed the initial phase of the establishment of a colony. Despite the rarity of films released in France and Australia that openly challenge colonialism as a whole, many signs are evident throughout these films that the practices and values defending or justifying colonisation are nevertheless being questioned.Thesis (Ph.D) -- School of Humanities, 2003
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Fonseca, Diogo de Araujo Franco da. "Îagûara." Master's thesis, 2020. http://hdl.handle.net/10437/11602.
Full text