To see the other types of publications on this topic, follow the link: Indigenous film.
Journal articles on the topic 'Indigenous film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Indigenous film.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Pollock, Benjin. "Beyond the Burden of History in Indigenous Australian Cinema." Film Studies 20, no. 1 (May 2019): 36–53. http://dx.doi.org/10.7227/fs.20.0003.
Full textAbstract:
How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.
2
Watchman, Renae. "Teaching Indigenous Film through an Indigenous Epistemic Lens." Studies in American Indian Literatures 34, no. 1-2 (March 2022): 112–34. http://dx.doi.org/10.1353/ail.2022.0009.
Full text
3
Sand, Stine Agnete. "‘Call the Norwegian embassy!’: The Alta conflict, Indigenous narrative and political change in the activist films The Taking of Sámiland and Let the River Live." Journal of Scandinavian Cinema 12, no. 1 (March 1, 2022): 57–70. http://dx.doi.org/10.1386/jsca_00064_1.
Full textAbstract:
In the 1970s, Norway had not officially acknowledged their Indigenous population, the Sámi. In the following decade, two activist films, Let the River Live (Greve 1980) and The Taking of Sámiland (Eriksen and Tannvik 1984), focused on the Alta conflict ‐ protests against the construction of a power plant in Sámi territory ‐ Indigenous rights and colonial processes. Inspired by discussions concerning documentary, activism and decolonialism, this article investigates how the films frame Sámi interests and challenge perceptions of the Norwegian state. Because both films are collaborations across ethnic boundaries, they also challenge the supposed insider/outsider perspective of Sámi and Indigenous film, offering decolonial narratives by centring on Indigenous voices and experiences, confronting the idea of Norway as homogenous and representing the state as a colonial oppressor. They represent a political turning point that has changed politics, film production and collective memory.
4
Ebanks Schlums, Debbie, Adrian Kahgee, and Rebeka Tabobondung. "Indigenous and Migrant Embodied Cartographies." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 48–61. http://dx.doi.org/10.32920/ifmj.v2i1.1531.
Full textAbstract:
The Odeimin Runners Club is an Indigenous and Black-Persons-of-Colour (IBPOC) media arts collective (the “Collective”) creating an online story map using an open-source satellite mapping platform. By tracing activities and connections in our engagements with each other and our communities, our counter-mapping project re-traces trade and ceremonial routes between the north of Turtle Island and the Caribbean archipelago, linking stories, videos and artworks to traditional territories. This paper addresses the process of a pilot project making three 16mm experimental films. Process cinema methodologies that incorporate plants and organic materials in film processing were applied in the first phase of the project to produce three short films using Bolex film cameras. The films are themed on human survival, land connection, “rematriation” and BIPOC counter-mapping, threading our knowledge and stories together as we visit each other’s territories. In the making, Indigenous and performative cartographic methods were also used to map the inter-relations between the histories and futures of the land. An interactive website was created to integrate these methodologies while giving public access to the films during online exhibitions. The interactivity of the platform establishes connections between the films and filmmakers, both formally and thematically, wherein sharing traditional wisdom, imparting important knowledge, and offering support and strength to one another, facilitate the navigation of current political and environmental instabilities facing the authors’ communities. The authors conclude by suggesting future explorations aimed at building an interactive online mapping experience for communities to deepen and widen connections between their respective communities.
5
Jafri, Beenash. "Refusal/film: diasporic-indigenous relationalities." Settler Colonial Studies 10, no. 1 (January 2, 2020): 110–25. http://dx.doi.org/10.1080/2201473x.2019.1677133.
Full text
6
Shreve, Adam T. "Religious Films in Zimbabwean Contexts." International Journal of Public Theology 9, no. 2 (June 2, 2015): 193–211. http://dx.doi.org/10.1163/15697320-12341392.
Full textAbstract:
This article presents the author’s original research of a reception study of religious films amongst Shona peoples in the Gora and Chikara villages, which are located in the Mashonaland West Province of Zimbabwe. The two central questions of the author’s study are: First, in what ways might pre-existing Shona images of Jesus shape Shona responses to and interpretations of Jesus as he is portrayed in The Jesus Film (1979) and in indigenous, short, Jesus films in Zimbabwe today? Secondly, how might the viewing of these films affect these images of Jesus? This article addresses how indigenous, short Jesus films in Zimbabwe have manifested different representations of Jesus from the pervasive European image of Jesus that is perpetuated by The Jesus Film. This research is particularly relevant to current trends in media and technology, as the indigenous, short Jesus films are being distributed via mobile phones in Zimbabwe.
7
Frey, Aline. "Resisting Invasions: Indigenous Peoples and Land Rights Battles in Mabo and Terra Vermelha." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 151. http://dx.doi.org/10.5007/2175-8026.2016v69n2p151.
Full textAbstract:
http://dx.doi.org/10.5007/2175-8026.2016v69n2p151This article examines two feature films, focusing on the link between Indigenous cinema, environmental preservation and land rights. The first film is Mabo (2012) directed by Aboriginal filmmaker Rachel Perkins. It centres on a man’ legal battle for recognition of Indigenous land’ ownership in Australia. The second film is Terra Vermelha (Birdwatchers, Marco Bechis, 2008), which centres on the violence endured by a contemporary Brazilian Indigenous group attempting to reclaim their traditional lands occupied by agribusiness barons. Based on comparative analysis of Mabo and Terra Vermelha, this article discusses the similar challenges faced by Indigenous nations in these two countries, especially the colonial dispossession of their ancestral territories and the postcolonial obstacles to reclaim and exercise self-determination over them.
8
H Bickford, Sonja, and Michelle Warren. "Informed Change: Exploring the Use of Persuasive Communication of Indigenous Cultures Through Film Narratives." Informing Science: The International Journal of an Emerging Transdiscipline 23 (2020): 107–18. http://dx.doi.org/10.28945/4635.
Full textAbstract:
Aim/Purpose: There is a need to find a way to utilize narrative storytelling in film to make students more aware of the impacts of global problems and how they are perceived. Background: Two films from the year 2015 from two very different places in the world explore the encroachment and secondary effects of urban civilization upon indigenous cultures. Methodology: An interpretive, qualitative, methodology was used in addressing and discussing the use of these two films as a persuasive communication teaching aid. Contribution: This paper offers an approach to using narratives of films on indigenous issues in education to inform students about real-world issues and the wide impacts of those on various cultures and populations. Findings: Through the discussion of the two films, we suggest that using films with indigenous themes is beneficial to a course curriculum in a variety of subjects from communication to history and politics, to help students visualize the problems at hand. Anecdotally, the authors note that students are more engaged and willing to discuss topics if they have watched films or clips that deal with those topics than if they have simply read about them. Recommendation for Researchers: Technology and use of visuals are used as teaching tools in a variety of fields. Film narratives can be used as a teaching tool in multiple fields and provide insight about a variety of ideas. Identifying films such as those with indigenous themes provides an example of how one film can bring up multiple, real-world, topics and through led discussion student reflection can potentially lead to self-insights and have lasting impacts. Future Research: Additional research and assessment can be done on the impact of teaching with films and their compelling story telling of issues, and what types of questions should be asked to maximize learning and the impact of film narratives.
9
Janzen, Rebecca. "El cambio/The Change Joskowicz ([1971] 1975): Mexican counterculture and the futility of protest in the 1970s." Studies in Spanish & Latin-American Cinemas 18, no. 2 (June 1, 2021): 159–75. http://dx.doi.org/10.1386/slac_00044_1.
Full textAbstract:
This article analyses the representation of the 1970s countercultural movement in Alfredo Joskowicz’s film El cambio/The Change ([1971] 1975). It shows how the film portrays its protagonists as part of the Mexican countercultural movement, even as it adopts a critical view of that movement. Not only are the protagonists unsuccessful with their single action of protest, they are also engaged in problematic relationships with female and Indigenous characters. The ambivalence towards counterculture in El cambio is similar to the portrayal of leftist protest movements in other films by the same director. This article expands on the recognized relationship between this film and the director’s oeuvre. It demonstrates that the problematic portrayal of relationships between the protagonists and Indigenous and female characters relates to its historical context and other films from the time period. In particular, it shows that these interactions correspond with some of the ways that the Mexican state and the countercultural movement adopted paternalistic views of Indigenous people and replicated patriarchal relationships between men and women.
10
Jafri, Beenash. "Black Representations of Settlement on Film." Cultural Studies ↔ Critical Methodologies 17, no. 1 (July 25, 2016): 50–59. http://dx.doi.org/10.1177/1532708616638697.
Full textAbstract:
This article develops a method for analyzing Indigenous erasure in popular film that focuses not on the representations (or lack thereof) of Indigenous peoples but on representations of settlement. Whereas much of the scholarship on Native representations in film has been concerned with Hollywood’s promulgation of the “mythical Indian,” I argue that a focus on settlement—rather than on bodies—is significant in the context of the ongoing, unfinished processes of colonialism, which continue to structure life in white settler states. Cultural representations that reconfigure colonial-occupied life as settled life naturalize settler colonialism while erasing and displacing Indigenous claims to land. I illuminate this method by analyzing how the 1974 “blaxploitation Western” Thomasine and Bushrod imagines settlement. The film features a pair of lovers who are on the run from the law in America’s Southwest from 1911 to 1915. Because it is a film that speaks back to historical constructions of Blackness and Indigeneity, Thomasine and Bushrod productively illuminates how representations of Indigenous erasure work in often ambiguous and contradictory ways.
11
Jafri, Beenash. "Reframing Suicide." GLQ: A Journal of Lesbian and Gay Studies 27, no. 4 (October 1, 2021): 577–602. http://dx.doi.org/10.1215/10642684-9316852.
Full textAbstract:
Abstract What can narratives of suicide tell us about diasporic and Indigenous relationships to the white settler state? This article engages relational critique to examine trans/femme/bisexual South Asian Canadian filmmaker Vivek Shraya's short film I want to kill myself (2017) and queer Cree/Métis filmmaker Adam Garnet Jones's feature film Fire Song (2015). Both films challenge the spectacularity of suicide, effectively situating suicide on a continuum of “slow death.” However, the films also stage distinct relationships between suicide, community, and the state that emerge from diasporic and Native positionalities within a white settler society. Whereas Shraya's diasporic struggle with suicide is alleviated by forging community within settler spaces, Fire Song counters pathologizing depictions of reserve communities by emphasizing resurgent Indigenous practices and their refusal of settler logics.
12
Novi Rahmawati, Arif Ardy Wibowo, and Rahina Nugrahani. "Representasi Pribumi dalam Film Bumi Manusia (Kajian Semiotika Saussure)." Journal of Computer Science and Visual Communication Design 7, no. 1 (July 30, 2022): 1–16. http://dx.doi.org/10.55732/jikdiskomvis.v7i1.472.
Full textAbstract:
Bumi Manusia is one of Hanung Bramantyo's films that managed to attract the attention of Indonesian audiences because apart from being based on a historical novel written by a famous writer, namely Pramoedya Ananta Toer, this film also tells about the life of the Indigenous people in the colonial era. This study aims to provide knowledge and understanding of Indigenous Representation using Saussure's Semiotic Analysis Model. The representation approach used is a constructionist approach used in the process through the language used. The method used in this study is qualitative with a descriptive approach, describing, explaining, and representing the object of research based on existing facts or evidence. The data analysis technique used is Saussure's semiotic approach with the concept, Signifier and Signified as well as Langue and Parole. The results of the analysis of this film represent that the natives are a nation that is useless, lazy, stupid, unprofitable, worthy of being slaves or servants, poor, weak, too old-fashioned or traditional, like dirty, smelly and pricey animals, deserves to be insulted, trampled on. -step on and throw it away like trash when it's no longer needed. The results of the analysis obtained that the natives is under an atrocity and must be stopped. In this film, the natives are humiliated, made slaves or treated arbitrarily in their own country by Europeans. The negative representation of indigenous peoples is a reflection for the target audience so that they can become more alert, productive and adaptive to new things so that the conditions experienced by indigenous people will not be repeated.
13
Buckley, Thea. "India’s Indigenous Lear: Iyobinte Pusthakam." Revista Canaria de Estudios Ingleses, no. 83 (2021): 117–29. http://dx.doi.org/10.25145/j.recaesin.2021.83.09.
Full textAbstract:
In his 2014 Malayalam-language film Iyobinte Pusthakam (The Book of Job), Amal Neerad combines this Biblical fable with The Brothers Karamazov and King Lear to illustrate generational tensions in a divided South Indian family on a colonial tea plantation. Patriarch Job perpetuates colonial evils, including anti-tribal pogroms and sandalwood smuggling. Here, Job disinherits his youngest son Aloshy (a conflated Edmund+Cordelia figure) upon discovering his Communist sympathies. Through such Shakespearean dilemmas, Neerad’s film raises ethical questions regarding caste, race, politics and environment. Ultimately, familial and societal transgressions reflect pivotal times of national division and transformation, during the era of India’s colonisation, Partition and Independence.
14
Malik, Shaista, Ayaz Muhammad Shah, and Farhat Nawaz. "VISUAL SOVEREIGNTY IN SMOKE SIGNALS: A CRITICAL VISUAL ANALYSIS." Pakistan Journal of Social Research 04, no. 01 (March 31, 2022): 793–804. http://dx.doi.org/10.52567/pjsr.v4i1.944.
Full textAbstract:
The current research paper aims to see a film Smoke Signals by American Indian writer Sherman Alexie and director Chris Eyre as an attempt to define visual sovereignty. By applying Critical Visual Theory, the paper seeks to provide not just a close visual reading but also a broad study of American Indian indigenous film’s meanings with the understanding that the film functions as a politicized way of giving voice to the marginalized indigenous community. The film nullifies Hollywood representation of Natives by its celebration of Native storytelling. My contention is that the film is not a passive response to mainstream representation and geographical inaccuracies but rather a creation of indigenous reality in a media saturated world. The film shifts indigenous experience from a victimized stance to a strategic one. It has its visual effects which cannot be extricated from the social context in which it is produced. The analysis intends to delimit the bus scene that includes 10 frames ranging from 21:31- 40:31(time line). Keywords: vision, visuality, visual culture, visual sovereignty, critical visual theory.
15
Summerhayes, Catherine. "Haunting Secrets: Tracey Moffatt's beDevil." Film Quarterly 58, no. 1 (2004): 14–24. http://dx.doi.org/10.1525/fq.2004.58.1.14.
Full textAbstract:
Abstract In her vividly textured, complicated, and passionate film, beDevil, Australian Aboriginal artist and filmmaker Tracey Moffatt avoids easy stereotypes of victims and oppressors. She not only inspects some of the repressed stories of indigenous Australians, but also looks at the bewildered, bedeviled ways in which non-indigenous and indigenous Australians live with each other. Moffatt draws on all aspects of her artistic practice in this feature-length film.
16
Lehman, Kathryn. "Beyond Academia: Indigenous media as an intercultural resource to unlearn nation-state history." Revista Tempos e Espaços em Educação 10, no. 21 (March 15, 2017): 29–40. http://dx.doi.org/10.20952/revtee.v10i21.6330.
Full textAbstract:
This article proposes that settler communities cannot teach or understand our shared intercultural history without listening to ideas presented by Indigenous communities about their own history in lands currently occupied by modern nation- -states. This history enables us to understand the power of the ethnographic gaze and its relation to The Doctrine of Discovery (1493), which extinguished Indigenous rights to lands and resources, rights later transferred to the modern nation- -states through the legal notion of “eminent domain”. These rights include the ownership of intangibles such as the image and storytelling through photography and film. Maori scholars Linda Tuhiwai Smith, Barry Barclay and Merata Mita are cited on knowledge production, copyright and image sovereignty to decolonise our understanding of the right to self-representation. The study includes a brief analysis of films that help decolonise an ethnographic gaze at these relationships, particularly the Brazilian documentary “O Mestre e o Divino” by Tiago Campos Torre (2013).Keywords: Indigenous peoples. Nation-state history. Film. Self- -determination.
17
Priventa, Hendrike. "Sikap Ambivalensi Pribumi Dan Hibriditas Masyarakat Di Kepulauan Utara Jepang Dalam Film Animasi Joppani No Shima Karya Shigemichi Sugita." KIRYOKU 3, no. 3 (November 25, 2019): 126. http://dx.doi.org/10.14710/kiryoku.v3i3.126-134.
Full textAbstract:
This study aims to describe the indigenous ambivalence in the Joppani no Shima animated film and community hybridity in the Japanese Northern Islands in the animated film Joppani no Shima. The approach used is postcolonial with the perspective of Homi. K Bhaba. The results of this study are 1) The attitude of indigenous ambivalence in the film Joppani no Shima is divided into two, namely the attitude of loving the homeland and the attitude of looking at the colonizers higher. The attitude of indigenous ambivalence is one of the drivers of hybridity. 2) The hybridity of the North Island Islands of Japan can be seen in three aspects, namely the outlook on life, knowledge and lifestyle.Keywords : Animated film; North Japanese islands; postcolonial; ambivalence; hybridity
18
Bradford, Clare. "The Stolen Generations of Australia: Narratives of Loss and Survival." International Research in Children's Literature 13, no. 2 (December 2020): 242–58. http://dx.doi.org/10.3366/ircl.2020.0356.
Full textAbstract:
Australian texts for the young run the gamut of representational approaches to the removal of Indigenous children. Early colonial texts treated child removals as benign acts designed to rescue Indigenous children from savagery, but from the 1960s Indigenous writers produced life writing and fiction that pursued strategies of decolonisation. This essay plots the history of Stolen Generation narratives in Australia, from the first Australian account for children in Charlotte Barton's A Mother's Offering to Her Children to Doris Pilkington Garimara's Follow the Rabbit-Proof Fence, Philip Noyce's film Rabbit-Proof Fence, and pedagogical materials that mediate the book and film to children. Garimara's book and Noyce's film expose the motivations of those responsible for child removal policies and practices: to eliminate Indigenous people and cultures and to replace them with white populations. Many pedagogical materials deploy euphemistic and self-serving narratives that seek to ‘protect’ non-Indigenous children from the truths of colonisation.
19
Chávez-García, Miroslava. "Interview with Yolanda Cruz." Boom 1, no. 3 (2011): 57–61. http://dx.doi.org/10.1525/boom.2011.1.3.57.
Full textAbstract:
“Interview with Yolanda Cruz” is a conversation with filmmaker Yolanda Cruz, a graduate of UCLA’s film school and 2011 Sundance Screenwriters Lab Fellow. The interview focuses on her filmmaking, indigenous origins as a Chatino (one of sixteen indigenous groups in Oaxaca, Mexico), and views of indigenous peoples in California and across the globe. The interview spends time on Cruz’s latest film, 2501 Migrants, which depicts the unique work of Alejandro Santiago, an indigenous artist from Oaxaca, who uses his artwork to bring attention to the migrants who have left the region and created what has been called “cultural and domestic abandonment.”
20
Macpherson, Elizabeth. "Indigenous Water Rights in Comparative Law." Transnational Environmental Law 9, no. 3 (November 2020): 393–402. http://dx.doi.org/10.1017/s2047102520000291.
Full textAbstract:
At the end of the 2015 Academy Award-winning film The Big Short, which explores the origins of the 2008 Global Financial Crisis, a caption notes that the Wall Street investor protagonist of the film who predicted the collapse of the United States (US) housing market would now be ‘focused on one commodity: water’. Water is sometimes described in popular culture as ‘the new oil’ or ‘more valuable than gold’. It is predicted to be the subject of increasing uncertainty, competition, conflict, and even war, as increasing demand from a growing human population and development meets reduced supply as a result of poor management, overuse, and climate change.
21
Mayer, Sophie. "Pocahontas no more." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 113–28. http://dx.doi.org/10.33178/alpha.10.07.
Full textAbstract:
Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of Indigenous women in the new Western genre described by Susan Faludi, Drunktown’s Finest relates to both the work of white ally filmmakers of the early 2000s, such as Niki Caro, and to the work of contemporary Indigenous filmmakers working in both features (Marie-Hélène Cousineau and Madeline Ivalu of Arnait) and shorts (Danis Goulet, Elle-Máijá Tailfeathers). Foregrounding female agency, the film is framed by a traditional puberty ceremony that—through the presence of Felixia, a transgender/nádleeh woman—is configured as non-essentialist. The ceremony alters the temporality of the film, and inscribes a powerful new figure for Indigenous futures in the form of a young woman, in line with contemporary Indigenous online activism, and with the historical figure of Pocahontas.
22
Moffat, Kate. "Sámi film production and ‘constituted precarity’." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 191–206. http://dx.doi.org/10.1386/jsca_00022_1.
Full textAbstract:
This article seeks to both understand and characterize the intrinsic power relationships at the centre of the contemporary Sámi media industries. In the case of the Sámi, the Finno-Ugric indigenous minority who primarily inhabit the northernmost regions of Europe, the need to establish visibility through a variety of film and media channels is amplified by their ongoing constitutional marginalization in both political and economic forums. However, this article asks whether the Sámi face uniquely precarious barriers as indigenous media producers by introducing the concepts of ‘constituted precarity’ and ‘symbolic cultural labour’. Specifically, it frames the idea of constituted precarity as a type of ideological power relationship where the ‘host’ nations strategically engineer the precariousness of Sámi media platforms, primarily through policy. By examining the Sámi film industry’s position in Norway’s regional film funding infrastructure, we can identify different forms of precarity and manifestations of indigenous cultural labour that will help us determine whose interests are represented in the ongoing debates over cultural ownership and Sámi self-determination.
23
Berthe, Jamie. "History Calling: Decolonizing Cinema at New York's Film Forum." Film Quarterly 73, no. 2 (2019): 80–86. http://dx.doi.org/10.1525/fq.2019.73.2.80.
Full textAbstract:
Beginning in late May and unfolding over the course of nearly three weeks, New York's Film Forum's series, “The Hour of Liberation: Decolonizing Cinema, 1966-1981,” provided a stunningly expansive program of Third Cinema titles. In this review, Jamie Berthe addresses the historical and contemporary relevance of the films while focusing in particular on the often overlooked role that women played during these years, both as filmmakers and historical actors, as well as on the importance of the issue of indigenous land rights within the anticolonial film archive.
24
Neely, Sol. "Unsettling Monstrosity in Rhymes for Young Ghouls." Screen Bodies 4, no. 1 (June 1, 2019): 72–95. http://dx.doi.org/10.3167/screen.2019.040106.
Full textAbstract:
Rhymes for Young Ghouls (2014), written and directed by Mi’kmaq filmmaker Jeff Barnaby, is primarily presented as a residential school “revenge fantasy.” Some critics and reviewers of the film value it for its pedagogical possibilities, arguing that the film occasions opportunity for dialogue between Indigenous and non-Indigenous audiences about the legacies of the residential school system. Yet, numerous decolonial scholars and activists understand that dialogue alone cannot effect the quality of decolonial justice needed in the wake of genocide. This article approaches the film as a saturated phenomenon and examines the kinds of radical phenomenological transformation that must occur, especially among non-Indigenous audiences, for decolonial imperatives to become legible. Beyond developing a more comprehensive historical panorama of the violence and legacies of the residential school system, this article calls for a kind of translation of experience occasioned by the film, one that dramatically subverts and transforms modalities of consciousness on which coloniality is predicated.
25
Adah, Anthony. "Special issue on Indigenous film and popular culture." International Journal of Media & Cultural Politics 11, no. 3 (September 1, 2015): 279–82. http://dx.doi.org/10.1386/macp.11.3.279_2.
Full text
26
Vieira, Patrícia Isabel Lontro. "Animist Phytofilm: Plants in Amazonian Indigenous Filmmaking." Philosophies 7, no. 6 (December 8, 2022): 138. http://dx.doi.org/10.3390/philosophies7060138.
Full textAbstract:
Early films about plants offer a glimpse into the behavior of vegetal life, which had hitherto remained hidden from humans. Critics have praised this animistic capacity of cinema, allowing audiences to see the movement of beings that appeared to be inert and lifeless. With these reflections as a starting point, this article examines the notion of animist cinema. I argue that early movies still remained beholden to the goal of showing the multiple ways in which plants resemble humans, a tendency we often still find today in work on critical plant studies. I discuss the concept of animism in the context of Amazonian Indigenous societies as a springboard into an analysis of movies by Indigenous filmmakers from the region that highlight the plantness of human beings. I end the essay with an analysis of Ika Muru Huni Kuin’s film Shuku Shukuwe as an example of animist phytocinema.
27
Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (January 26, 2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.
Full textAbstract:
Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were released. Certain films kill humans with a deadly virus and turn them into zombies emphasizing and pushing forward to a cinema of genre its entertainment features, such as I Am Legend (2007), Train to Busan (2016), or Blood Quantum (2020). However, they also use horror, science fiction, and fantasy genres to portray a realistic compelling family drama or discuss structural racism and systemic colonialism against America’s indigenous peoples. In all these films, scientific ambition, political greed, and economic power intermingle, becoming the unknown forces and real detractors behind these catastrophes. Whether or not the end of the world is an appropriate story for entertainment attracts most viewers to Hollywood cinema. Conventional postapocalyptic tropes create a film riddled with relevant political concerns. Every year, hundreds of films transpose to the screen compelling narratives related to pandemics and their effects. In Coronavirus’s times, I analyze and contextualize several of Hollywood’s viral outbreaks to situate their narratives to current political subjects and understand how disaster and pandemic films have become entertaining.
Keywords
Hollywood cinema, Film Genres, Pandemics, Coronavirus, Racism, Indigenous, Covid19, Politics, Film Aesthetic, Disaster Films.
28
Joe, Jeongwon. "Korean opera-film Chunhyang and the trans-cultural politics of the voice." Muzikologija, no. 5 (2005): 181–93. http://dx.doi.org/10.2298/muz0505181j.
Full textAbstract:
This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice.
29
de la Mora, Sergio. "Roma: Reparation versus Exploitation." Film Quarterly 72, no. 4 (2019): 46–53. http://dx.doi.org/10.1525/fq.2019.72.4.46.
Full textAbstract:
Sergio de la Mora reviews Roma's reception in Mexico and reflects upon the film's intimate relationship with the nation's political history. Situating Roma with the broader trend in Latin American cinema for films that explore servant-employer relations, he examines how Roma visualizes the ways in which Indigenous domestic and intimate labor has been historically racialized and gendered in Mexico. He discusses the controversy surrounding Cleo's voice and agency in the film along with the aesthetic debates prompted by Cuarón's decision to film in black and white.
30
SWANSON, ROSS. "Archive and Authenticity: Cinematic Tourism in El abrazo de la serpiente (2015) by Ciro Guerra." Bulletin of Hispanic Studies: Volume 99, Issue 9 99, no. 9 (October 1, 2022): 903–26. http://dx.doi.org/10.3828/bhs.2022.54.
Full textAbstract:
The film El abrazo de la serpiente (2015) by Colombian director Ciro Guerra has been praised for its decolonial and ecological aesthetics. In this article I problematize these readings by arguing that the film, through its references to the archive of Amazonian photography and writing, works to satisfy touristic desires for contact with an ‘authentic’ Other, expressed most clearly in the indigenous shaman character, Karamakate. The film’s touristic aesthetic culminates in the final scenes, in which Karamakate bestows his shamanic knowledge on a white traveller character. This act not only heightens the sense of profound contact with the Other but also constructs a fantasy of reconciliation with indigenous peoples over the violence of colonialism. In this way, the film attempts to assuage guilt over colonial wrongdoings while doing little to model new and better ways of relating with indigenous peoples.
31
Hook, Genine. "Towards a Decolonising Pedagogy: Understanding Australian Indigenous Studies through Critical Whiteness Theory and Film Pedagogy." Australian Journal of Indigenous Education 41, no. 2 (December 2012): 110–19. http://dx.doi.org/10.1017/jie.2012.27.
Full textAbstract:
This article explores student and teacher engagement with Australian Indigenous Studies. In this article I identify key themes in the film September (2007) that demonstrate how the film can be used as a catalyst for student learning and discussion. Critical whiteness theory provides a framework to explore three themes, the invisibility of whiteness, the reachability of whiteness and the cultural interface. Critical whiteness theory identifies the way in which non-Indigenous people centralise and normalise whiteness within colonised societies, and particularly considers how white privilege is maintained. Interpreting the film September through the lens of critical whiteness theory contributes to translating curriculum and social justice aims of education into action.
32
Elder, Catriona. "The Proposition: Imagining Race, Family and Violence on the Nineteenth-Century Australian Frontier." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 69, no. 2 (June 7, 2016): 165. http://dx.doi.org/10.5007/2175-8026.2016v69n2p165.
Full textAbstract:
http://dx.doi.org/10.5007/2175-8026.2016v69n2p165This article analyses John Hillcoat’s 2005 film The Proposition in relation to a spate of Australian films about violence and the (post)colonial encounter released in the early twenty-first century. Extending on Felicity Collins and Therese Davis argument that these films can be read in terms of the ways they capture or refract aspects of contemporary race relations in Australia in a post-Mabo, this article analyses how The Proposition reconstructs the trauma of the Australian frontier; how from the perspective of the twenty-first century it worries over the meaning of violence on the Australian frontier. It also explores what has become speakable (and remains unspeakable) in the public sphere about the history of the frontier encounter, especially in terms of family and race. The article argues that The Proposition and other early twenty-first century race relations films can be understood as post-reconciliation films, emerging in a period when Indigenous and non-Indigenous Australians were rethinking ideas of belonging through a prism of post-enmity and forgiveness. Drawing on the theme of violence and intimate relations in the film, this article argues that the challenges to the everyday formulation of Australian history proffered in The Proposition reveal painful and powerful differences amongst Australian citizens’ understanding of who belongs and how they came to belong to the nation. I suggest that by focusing on violence in terms of intimacy, relationships, family and kin, it is possible to see this film presented an opportunity to begin to refigure ideas of belonging.
33
De Groof, Matthias. "Rouch's Reflexive Turn: Indigenous Film as the Outcome of Reflexivity in Ethnographic Film." Visual Anthropology 26, no. 2 (March 2013): 109–31. http://dx.doi.org/10.1080/08949468.2013.752698.
Full text
34
Monani, Salma, Marijke de Valck, and Skadi Loist. "Indigenous film festival as eco-testimonial encounter: The 2011 Native Film + Video Festival." NECSUS. European Journal of Media Studies 2, no. 1 (January 1, 2013): 285–91. http://dx.doi.org/10.5117/necsus2013.1.mona.
Full text
35
Coyle, Michael. "Shifting the Focus: Viewing Indigenous Consent Not as a Snapshot But As a Feature Film." International Journal on Minority and Group Rights 27, no. 2 (March 17, 2020): 357–76. http://dx.doi.org/10.1163/15718115-02702011.
Full textAbstract:
Whether Indigenous peoples have a right to withhold their consent to proposed resource developments on their traditional lands is a topic of much debate at the moment. Canada’s endorsement of the United Nations Declaration on the Rights of Indigenous Peoples raises questions about Canada’s existing consultation law, which generally does not require Indigenous peoples’ advance consent to proposed uses of their traditional lands. While the issue of consent is important, the author argues that focusing only on the end point of consultations misses important questions about the capacity of existing consultation processes to promote consensus-building between the state and Indigenous peoples. This article takes a critical look at the structure of current consultation processes in Canada and proposes changes that would strengthen their capacity to manage conflicts effectively, to respect Indigenous values and legal orders, and to advance the long-term relationship between the Canadian state and Indigenous peoples.
36
Lane, Lorraine, Cecelia Lewis, Elizabeth Povinelli, Linda Yarrowin, Sandra Yarrowin, David Boarder Giles, Melinda Hinkson, and Timothy Neale. "A Conversation with the Karrabing Film Collective." Commoning Ethnography 2, no. 1 (December 19, 2019): 166. http://dx.doi.org/10.26686/ce.v2i1.5663.
Full textAbstract:
This piece is a lightly edited transcript of a conversation with members of the Karrabing Film Collective – Lorraine Lane, Linda Yarrowin, Cecilia Lewis, Sandra Yarrowin, and anthropologist Elizabeth Povinelli – interviewed by anthropologists Melinda Hinkson and David Boarder Giles. The Karrabing Film Collective are a community of Indigenous Australians and their whitefella collaborators who make films that analyse and represent their contemporary lives and also keep their country alive by acting on it. This conversation appeared first as Episode Eighteen of Conversations in Anthropology@Deakin, a podcast about ‘life, the universe, and anthropology’ based at Deakin University and produced by Giles and Timothy Neale, with support from the Faculty of Arts and Education at Deakin University, and in association with the American Anthropological Association.
37
Stasiuk, Glen, and Steve Kinnane. "Keepers of our Stories." Australian Journal of Indigenous Education 39, S1 (2010): 87–95. http://dx.doi.org/10.1375/s1326011100001174.
Full textAbstract:
AbstractStorytelling is an integral part of life for Indigenous Australians. Before the arrival of Europeans and continuing after; gathered around the campfire in the evening stories were and are still shared; passed from one generation to the next. In modern times, in addition to a continuing oral traditions, another method of storytelling has risen from the ashes of the fire: filmmaking and multi-media production. In the past stories were verbally passed from one family member to the next. Sometimes these “yarns” were presented on a “message stick” and the modern form of the traditional message stick is the DVD or the internet. This paper will examine the importance and crucial element of re-representation of images, archives or productions that have in the past, and in the majority, portrayed Indigenous cultures and communities in a derogatory or less than flattering manner. Further, it will explain the main factors for appropriate manifestation of Indigenous perspectives within any film production that is portraying or capturing Indigenous individuals, narratives and/or communities. The paper relates the key elements that must be in place to ensure appropriate and robust Indigenous agency in any film production. Finally, the paper concludes with an affirmation of the need to creatively engage in the third space; between Indigenous values and priorities and Western formats and narrative structures, to arrive at a uniquely modern Indigenous telling that is accessible, firstly to Indigenous Australians, and secondly, to those with whom we wish to share our stories.
38
Vigil, Kiara M. "Warrior Women: Recovering Indigenous Visions across Film and Activism." JCMS: Journal of Cinema and Media Studies 60, no. 2 (2021): 169–74. http://dx.doi.org/10.1353/cj.2021.0010.
Full text
39
Sneve, Shirley K. "Imagic Moments: Indigenous North American Film by Lee Schweninger." Great Plains Quarterly 35, no. 2 (2015): 216. http://dx.doi.org/10.1353/gpq.2015.0022.
Full text
40
Mumford, Cara. "Dancing the Waterways in Leanne Simpson’s she sang them home." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (January 20, 2022): 29–41. http://dx.doi.org/10.7202/1085310ar.
Full textAbstract:
Inspired by essay films meditating on time, travel and ceremony and informed by cinematic cartography, my short dance film, sing them home (2020), travels the specific bodies of water that form the route that Atlantic Salmon once journeyed as they migrated to Michi Saagiig Nishnaabeg territory. Rooted in Nishnaabewin and Indigenous food sovereignty, toward a vision of the collective continuance of Michi Saagiig aki miijim, the film uses movement to activate sites in and on the shores of these lakes and rivers in the present while remembering the past and future of this waterway and her kin. This photo essay documents the film's journey and invites you to consider the making of this dance film as a prayer for the salmon to return.
41
Shamash, Sarah. "Cosmopolitical technologies and the demarcation of screen space at Cine Kurumin." Media-N 14, no. 1 (September 26, 2018): 11–23. http://dx.doi.org/10.21900/j.median.v14i1.62.
Full textAbstract:
“Our fight today is to demarcate our space on the screen, when we can no longer demarcate our lands.” I cite Ailton Krenak, one of Brazil’s most influential Indigenous leaders, at his keynote address at the opening of the Cine Kurumin film festival in Salvador, Brazil, to engage with cinematic languages on the margins of dominant media. I experience the festival as an active immersion into imaginaries that forward the process of “decoloniality” (Mignolo). As Sueli Maxakali articulated during a roundtable of Indigenous women filmmakers, the Shaman must dream in order to choose the name of the films made in her community. The production processes of these films were conceived outside the structures of any capitalist market economy; rather, the festival offered an alternate space to take a deliberate leap into expressive audio and oral visual experiences, cultures, languages, politics, and imaginaries resisting ongoing violence entrenched in capital and coloniality. Through a discussion of the festival curation, roundtable discussion, and through a film analysis, I elaborate how the sacred, spiritual, and social are constituent elements of cosmopolitical visions. I argue that film and video as cosmopolitical technologies are unsettling established conceptions of nature and culture, of politics and representation both on and off-screen. Witnessing the Cine Kurumin festival – the totality of the experience becomes an immersive and transformative space for decolonizing the imaginary while disturbing hegemonic political, conceptual, and representational agendas.
42
Topash-Caldwell, Blaire. "“Beam us up, Bgwëthnėnė!” Indigenizing science (fiction)." AlterNative: An International Journal of Indigenous Peoples 16, no. 2 (June 2020): 81–89. http://dx.doi.org/10.1177/1177180120917479.
Full textAbstract:
The popularity of Indigenous-authored science fiction art, literature, film, and even video games has exploded in recent years. More than just a niche interest, these works have material effects on the possibilities young Indigenous people envision for themselves. Contrary to research on the negative effects of Native American stereotypes on youth, positive representations of Native peoples found in Indigenous science fiction portray alternative futurisms to those represented in mainstream science fiction. Developed in concert with traditional knowledge and value systems, alternative futurisms as depicted in Indigenous science fiction forefront Indigenous agency in a genre where Indigeneity is either absent or made irrelevant. This article investigates the ways in which Indigenous science fiction creators leverage traditional knowledge systems to paint a picture of Indigenous futures that depart from mainstream science fiction in material ways.
43
Albites, Enrique Bernales. "Indigenous Narratives of Creation and Origin in Embrace of the Serpent, by Ciro Guerra." English Language Notes 58, no. 1 (April 1, 2020): 200–213. http://dx.doi.org/10.1215/00138282-8237520.
Full textAbstract:
Abstract In Ciro Guerra’s film Embrace of the Serpent (2015), cultural exchanges between the central characters reveal the origin narratives and the curative power of plants valued by Indigenous cultures of the Amazon. This article analyzes how Embrace of the Serpent expresses Indigenous rationality in the origin narratives as the shaman Karamakate confronts Western travelers and scientists. For these Indigenous cultures, knowledge and its reproduction are equivalent to ancestral songs and rituals such as the ceremony of the Ayahuasca. This article supports these ideas not in a filmic analysis but by exploring central aspects and scenes in the film associated with intercultural exchanges and the ritual of Ayahuasca. Finally, Embrace of the Serpent highlights the difficulty of distinguishing between the rationality of orality and writing with which Native cultures of the Americas understand the world that surrounds them.
44
Brookes, Alec. "Three Aral Sea Films and the Soviet Ecology." October 171 (March 2020): 27–46. http://dx.doi.org/10.1162/octo_a_00377.
Full textAbstract:
Drawing on analysis of three films that converge on the Aral Sea and span from 1929 to 1988, Alec Brookes engages with Marxist scholarship on the Anthropocene and Capitalocene to argue that the Soviet ecology rested on the same fundamental principle of the Capitalist world ecology: the alienation of indigenous producers from land in waves of primitive accumulation. The Forty-First (1956) and Turksib (1929) both show how, alongside other devices, the dialectics of film form as theorized by Sergei Eisenstein were repurposed to reframe the conquest of “Man” over “Nature” and ultimately to appropriate land from producers within an ostensibly Marxist framework. In The Needle (1988), on an already desiccated Aral Sea, director Rashid Nugamov suggests that the restoration of Asian land to Asian producers provides a way forward after the decay and depravation of the Soviet ecology. The analysis here suggests that to confront the Capitalist world ecology in the present we must work to restore land to indigenous producers and promote indigenous ecological relations.
45
Hunt, Dallas. "“In search of our better selves”: Totem Transfer Narratives and Indigenous Futurities." American Indian Culture and Research Journal 42, no. 1 (January 1, 2018): 71–90. http://dx.doi.org/10.17953/aicrj.42.1.hunt.
Full textAbstract:
Much contemporary science fiction urges us to focus on eco-activism and sustainable futures in order to prevent environmental catastrophe. From a critical Indigenous and anticolonial perspective, however, the question becomes “for whom are these futures sustainable”? Set in a nondescript desert dystopia, George Miller's film Mad Max: Fury Road 2015 alludes to the westerns of yesteryear and the Australian “outback”—spaces coded as menacing in their resistance to being tamed by settler-colonial interests. This article charts how Miller's film, while preoccupied with issues pertaining to global warming and ecological collapse, replicates and reifies settler replacement narratives, or what Canadian literature scholar Margery Fee has referred to as “totem transfer” narratives (1987). In these narratives, ultimately the “natives” transfer their knowledges and then disappear from view, helping white settlers remedy the self-created ills that currently threaten their worlds and enabling them to inherit the land. In the second half, I also consider how Indigenous futurist texts offer decolonizing potentials that refute the replacement narratives that persist in settler-colonial contexts. In particular, I examine how Indigenous cultural production emphasizes the importance of the intergenerational transfer of Indigenous knowledges and refuses the hermeneutic of reconciliation that seeks to discipline Indigenous futures in the service of a settler-colonial present.
46
Hogan, Trevor, and Priti Singh. "Modes of indigenous modernity." Thesis Eleven 145, no. 1 (March 26, 2018): 3–9. http://dx.doi.org/10.1177/0725513618763836.
Full textAbstract:
This special issue is the outcome of a collaborative venture – a three-day workshop between La Trobe University and Ateneo de Manila University, held in Manila. It brought together indigenous and non-indigenous researchers from both the Philippines and Australia and included aboriginal researchers in business studies, history, literature and anthropology, and non-indigenous researchers working on themes of indigenous history, material culture, film studies, literature, the visual arts, law and linguistics. The ‘indigenous’ peoples of the Philippines are very different to Australian Aborigines or Torres Strait Islanders. Nevertheless, they have common quests for political autonomy, protection of indigenous customary laws, traditions and knowledge, biodiversity, and development of independent self-governance structures for health, education and community development. These concerns involve analogous and overlapping political struggles with nation-states and in the forums of the UN, regional associations, global consortia, and the international courts. The papers in this issue are based on a roundtable in which the participants showcased their own research projects and interests on indigenous pathways, cultural pluralism and national identities; socio-economic development; and representation of indigenous identities in creative and visual arts.
47
García Blizzard, Monica. "Framing indigeneity in early ethnographic Mexican film: An analysis of Peregrinación a Chalma/Pilgrimage to Chalma (Díaz Ordaz 1922)." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 311–30. http://dx.doi.org/10.1386/slac_00024_1.
Full textAbstract:
This article approaches the exhibition of indigeneity in the early Mexican ethnographic film Peregrinación a Chalma / Pilgrimage to Chalma (Díaz Ordaz 1922) as a simultaneous display of criollo/mestizo hegemonic culture and institutions. As a product of the Mexican anthropological establishment at an early moment of the discipline’s investment in post-revolutionary indigenismo and mestizaje, the film participates in the endeavour to document and disseminate aspects of indigenous culture and the will to affirm the existence of a modern, non-indigenous Mexican identity. Through filmic analysis, the article illustrates how the film’s use of the stylistic conventions of the classical ethnographic mode creates a distanced rendering of Indigenous people that elevates the criollo/mestizo perspective and casts its representatives as the official curators of and modern foils to indigeneity. Furthermore, through its textual and stylistic conventions, Peregrinación a Chalma positions the spectator to view indigeneity from the position of hegemonic criollo/mestizo culture, aligning the spectator with the cultural perspective that presents itself as dominant and authoritative. The spectatorial positionality crafted by the film is in tune with the modernizing and homogenizing aims of indigenismo and mestizaje in the early post-revolutionary period.
48
Johnson, Larissa Andrea. "On Virtuality and the Diasporic Imagination." Film Quarterly 75, no. 2 (2021): 94–101. http://dx.doi.org/10.1525/fq.2021.75.2.94.
Full textAbstract:
This report covers the 10th edition of BlackStar Film Festival (BSFF), which took place virtually and in person over a week in early August 2021. The independent festival features work by Black, Brown and Indigenous makers, and aims to reach a wide audience whose identities and experiences are reflected in the films. Johnson considers the multifaceted symbolism of the Black Star as it is realized in the curatorial and institutional vision of the festival, and considers the affordances (and limitations) of virtuality toward greater distribution of, and access to, independent films in the places they represent. An extensive review of the shorts program includes reporting on category winners Lizard (Akinola Davies Jr), Dear Philadelphia (Renee Maria Osubu) and Elena (Michèle Stephenson). This is the first review of BSFF for Film Quarterly.
49
Golovneva, Elena Valentinovna, and Ivan Andreevich Golovnev. "THE VISUAL REPRESENTATIONS OF THE ETHNOCULTURAL COMMUNITIES OF THE NORTH IN THE DOCUMENTARIES (THE FILM OIL FIELD)." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 115–23. http://dx.doi.org/10.35634/2224-9443-2020-14-1-115-123.
Full textAbstract:
The article investigates the one of types of contemporary visual sources in Anthropology - the ethnographic films about the indigenous peoples of the Russian North. The authors focus on the documentary film Oil Field (Oil Field; Ivan Golovnev 2012) that depicts a life of the family Piak in the Khanty-Mansi Autonomous Okrug-Yugra. Focusing on the daily life of a Khanty family, authors develop a narrative structure, in which the protagonist Vasilii Piak received an identity and began to command the viewers’ emotions. Particular attention is paid to the visual representation of the traditional forms of economy (reindeer herding) in Khanty and Nenets culture, including the indigenous people’s relation to nature in the North. Authors consider also the interaction between indigenous peoples and oil companies in the Khanty-Mansi Autonomous Okrug. The paper states that oil development has become the context of contemporary life among northern minorities. On the one hand, oil companies present an environmental and cultural threat to the indigenous inhabitants. On the other hand, they bring important elements of life to the North: fuel, food, roads, work, a system of benefits and other matters which have become part of the local northern reality. Thus, for many Khanty, oil companies are an important source of family income. This is perhaps one of the most difficult moments in situation of the relations of among contemporary northerners, who have already adapted to this tense but mutually advantageous proximity.
50
Spicer, Andrew. "The Impresario in British Cinema: Bernard Delfont at EMI." Journal of British Cinema and Television 18, no. 1 (January 2021): 7–33. http://dx.doi.org/10.3366/jbctv.2021.0553.
Full textAbstract:
The article argues that Bernard Delfont played a significant role in the development of the British film industry in the 1970s as head of EMI's entertainment division that included film. In contradistinction to existing accounts, it is contended that Delfont provided dynamic leadership to the corporation's policies through the skills and knowledge he had developed as a highly successful theatrical impresario, even if he lacked a detailed understanding of the film industry. Delfont made a series of bold choices. The first was to appoint Bryan Forbes as Head of Film Production in an imaginative attempt to revitalise the British film industry using indigenous resources and talent. The commercial failure of this initiative occasioned Forbes's departure and a more cautious regime under the direction of Nat Cohen. Faced with a rapidly shrinking domestic market, Delfont decided that a thoroughgoing internationalism was the only way to sustain EMI's film business. He sidelined Cohen by appointing two young ‘buccaneers’, Michael Deeley and Barry Spikings in May 1976 to pursue a policy of investing in Hollywood films and producing ‘American’ films financed by British money. This radical strategy was controversial and reconfigured EMI as a ‘supranational’ rather than national film producer. This was intensified by Delfont's boldest move: establishing Associated Film Distributors (AFD) in July 1979, in partnership with his brother Lew Grade's Associated Communication Company, to distribute their companies' films and become a major Hollywood player. Its failure, after only 20 months, coupled with spectacular production losses effectively ended both companies as important film production units. Delfont's career demonstrates the wider significance of the risk-taking impresario in understanding British film as a business enterprise, the importance of the policies and tastes of studio heads and the need to reposition the film industry as part of wider entertainment and leisure provision.