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Native American Studies midterm (Hollywood's Indian chapter 1…
Native American Studies midterm
Hollywood's Indian chapter 1
feathers, war paint is the norm for how Indians are portrayed
Chief Broom/Bromden from Cuckoo’s Nest, symbolic representation of real Native actors, true voices not heard on screen, must “Indian-speak” their lines
native people and tech industry begin to tie together
Americas view on natives change. civil rights cause more opportunities
seeing red (drums along the Mohawk)
1776
American War Story, a belief in Manifest Destiny, resets the ideas/actions of European invasion/American colonization, is essentially a tragedy
frontier civilized vs un-civilized. Tame vs wild
Noble vs. Ignoble Savage dichotomy, friendly vs. hostile
white community is victimized, sets up a context of sympathy, attacked by savages,
Hollywood’s Indian Ch. 2 Notes
idealized “Indians” constructed as The Other, often as mirrors to what white Europeans/Americans thought of themselves,
Films are a collaborative process, are political, i.e., have a viewpoint/perspective in telling story
For the idealized Indian persona/caricature- war paint head dresses war whooping.
Seeing Red – The Searchers Notes
1868
Setting/Nature is backdrop to film, here Nature is larger/more powerful/grander than interactions of humans
Ford used Monument Valley as his backdrop, represents The West, all “Indians” live here
=>film Westerns, white captives and their rescues, most often white women, must be saved by White male hero
Hollywood Ch. 5
Ford promoted film/messages in films, as central myths of Western culture,” are sexist and racist perspectives, a relationship of history and myth
Hollywood Indian glosses over the diversity of Native peoples through power of mass media
Films put a form to Manifest Destiny, are expressions of white expansion and nation-building
Seeing Red – Little Big Man Notes
1850-1890
Non-Native hero figure as main character, Native characters given depth by larger speaking roles showing their humanity
Custer’s role provides the violence of the film
Audience is left feeling sympathy for Jack Crabb, not the Cheyenne
Hollywood Indian Ch. 8
Film is comic and at same time ironic, deconstructs the myth of the West and of American nation-building,
Complexity of Cheyenne people overshadowed by comic notions of the film
films begin to modify the Hollywood Indian in the 1950s and 60s as a result of social and cultural shifts, especially of the Vietnam war and the rise of NA nationalism
Seeing Red - Man/Horse Notes
A captivity narrative epic
Horse out-Indians the Indians, teaching them “civilized” warfare tactics of European fighting formations of fire and volley of arrows in rows of men