Native American Film Essay

I took the Native American IAT and the Age IAT tests. I thought my results would be that I would have some association with Native Americans because I have Native American in my ancestry. My results were that I had little or no association between Native American and American with Foreign and American. I am not sure if I agree with them or not and that maybe from family history. I have no ideal if this method is truly effective and I would try to make sure that I am being considerate about other people's culture when teaching students and interacting with their families. I took away from this test that I learned new things about my thought process.

The most serious Native American stereotypes are clearly visible in films of the early twentieth century in Hollywood westerns. The big screen stories about western cowboys defeating Native tribes proved to be extremely popular and lucrative. Hollywood then started producing western tales in incredible quantities . In most Westerns, white cowboys represent courageous, brave, and quick witted men while the Indians are the dimming past. Cowboys are logical. “Indians” are irrational. Together, cowboys and Indians are the ego and the heart of the Anglo-Saxon identity. Native American characters in twentieth century films have ranged from stereotypes including the bloodthirsty, raging beast to the noble savage. Still other Indian characters, whether they are heroes, bad guys, or neutral, were the characters with little to no character development or range in their personalities. These stereotypes have their origins in popular American literature dating as far back as the sixteenth and seventeenth centuries. Jacquelyn Kilpatrick, author of Celluloid Indians, notes that popular stories “centered on Native American savagery served as outlets for violence and pent up aggression in an early American society that prided manners and respectability.” (Kilpatrick 2) In these stories, the Native American population was seen as bad, though individual members could be represented as good. These stereotypes continued for years. One author, James Fenimore Cooper, began publishing a series of stories titled The Leatherstocking Tales in 1841. Kilpatrick emphasizes that Cooper

Museums serve as a way to connect with the public on a large scale, and the knowledge held within exhibits can be a fruitful experience for those who choose to visit these institutions. Experiencing all that a museum has to offer, no matter how well intentioned, can at times be confusing and overwhelming to the individuals visiting the site. The Smithsonian’s Museum of the American Indian dedicates itself to Native Americans in North and South America, and worked tirelessly with varying tribes to create a new standard. Some visitors and scholars found their work to be successful in design and approach while others found it to be lacking in execution. This institution does not approach Native American history in a familiar fashion; however it does cover an expansive period of time, and produces a great amount of detail while generating powerful emotions.

In American Indian Stories, University of Nebraska Press Lincoln and London edition, the author, Zitkala-Sa, tries to tell stories that depicted life growing up on a reservation. Her stories showed how Native Americans reacted to the white man’s ways of running the land and changing the life of Indians. “Zitkala-Sa was one of the early Indian writers to record tribal legends and tales from oral tradition” (back cover) is a great way to show that the author’s stories were based upon actual events in her life as a Dakota Sioux Indian. This essay will describe and analyze Native American life as described by Zitkala-Sa’s American Indian Stories, it will relate to Native Americans and their interactions with American societies, it will

Misrepresentation of Natives on screen throughout the 20th century has had an adverse effect on them. Whether it was positive or negative stereotypes, Natives felt the effect of Hollywood and began to lose their self-identity, their honour, and their pride. Reel Injun takes a look at how movies have defined an entire race and also documents the rebirth of the Native identity after decades of destructive Hollywood movies by interviewing notable Native actors, actresses, and activists. By doing so, director Neil Diamond hopes to silence Hollywood stereotypes and get Hollywood to properly represent the Native people.

Popular culture has shaped our understanding and perception of Native American culture. From Disney to literature has given the picture of the “blood thirsty savage” of the beginning colonialism in the new world to the “Noble Savage,” a trait painted by non-native the West (Landsman and Lewis 184) and this has influenced many non native perceptions. What many outsiders do not see is the struggle Native American have on day to day bases. Each generation of Native American is on a struggle to keep their traditions alive, but to function in school and ultimately graduate.

In her book American Indian Stories, Zitkala-Sa's central role as both an activist and writer surfaces, which uniquely combines autobiography and fiction and represents an attempt to merge cultural critique with aesthetic form, especially surrounding such fundamental matters as religion. In the tradition of sentimental, autobiographical fiction, this work addresses keen issues for American Indians' dilemmas with assimilation. In Parts IV and V of "School Days," for example, she vividly describes a little girl's nightmares of paleface devils and delineates her bitterness when her classmate died with an open Bible on her bed. In this groundbreaking scene, she inverts the allegation of Indian religion as superstition by labeling

Today we watched a movie called club native. It was really good and touchy movie. This movie is all about the struggle, confusion and frustration of First Nations, who were wondering for their right identity throughout their whole life. They struggle was also about their identity and dignity which they were looking for many years. They wanted their rights which originally belong to them.

From as early as the time of the early European settlers, Native Americans have suffered tremendously. Native Americans during the time of the early settlers where treated very badly. Europeans did what they wanted with the Native Americans, and when a group of Native Americans would stand up for themselves, the European would quickly put them down. The Native Americans bow and arrows where no match for the Europeans guns and cannon balls. When the Europeans guns didn’t work for the Europeans, the disease they bought killed the Native Americans even more effectively.

We're going to tell you about a tribe of Indians known as the Sioux Indians. The Sioux Indians lived on the great plains. The Sioux's tribe is partially and fully located in 7 states. The states are known as Nebraska, North Dakota, South Dakota, Montana, Iowa, Minnesota, and Wisconsin. Their natural resources include deer, beans, wild rice, and buffalo.

In the spring of 1750, Allah granted life to Kunta Kinte. Kunta was the first son of Omoro and Binta Kinte. Kunta and his relatives belonged to the Mandinka tribe, Juffure, in The Gambia. The Juffure members adhered rigidly to the sacred text of the Quran. Kunta’s childhood was full of wonder and joy. When he was a child he aided his elders, attend to the needs of his family, and morphed into a dutiful student. He adored his mother and patterned his behavior after his father who he respected and admired. His days consisted of tending to goats, farming groundnuts, couscous, and cotton. A lion attacted one of his goats and he did not run. He stayed and thrawted off the attact with nothing more than a sling shot made out of weathered leather This shows his bravery.

As the Gwich'in tribal leaders choose to migrate with the younger, active members of the tribe to find stable land, Sa’ and Ch’idzigyaak are forced to fend for themselves. Initially, the two are

Western and Indigenous knowledge systems differ in values, habits of mind and practices; however, there has been productive cross-cultural collaboration that integrates global vision with social and cultural dimensions. Productive collaboration addresses past contradictions in the coevolution of society, science and environment. Ten Canoes is a cross-culturally collaborative film that was meant to portray the Yolngu community in its true representation in an attempt to bridge the black and white Australian cultural divide by sharing its traditions and values with a non-Indigenous audience. Important spiritual and cultural information is shared throughout the passage of the film that frames and contextualizes the cosmology of the Yolngu people (Clothier & Dudek, 2009: p. 85). Dutch-born director Rolf De Heer and Yolngu director Peter Djigirr consolidate to show modern audiences the “community’s cultural continuance and to connect between individuals and the community both past and present” (Clothier & Dudek, 2009: p. 86). Additionally, Ten Canoes is only spoken in the Yolngu’s Indigenous language. For Yolngu audiences, “the use of their own languages in Ten Canoes highlights the vibrancy of a continuing linguistic heritage” (Clothier & Dudek, 2009: p. 87). Simultaneously, audiences that cannot understand the language of the Yolngu people read subtitles that create a critical intimacy to engage in “passion and reason while seeking understanding” (Clothier & Dudek, 2009: p.

Visual Anthropology provides visual documentation, either in the form of photographs, films, or videos, of early cultures to be “used for research, teaching, and cultural preservation” (Prins 2004: 2). What many people do not realize is that sometimes the documentation may not always explain the truth in the eyes of the people they are documenting. With the historical emergence of visual anthropology on the rise, this sometimes biased or untrue documentation, can lead to the dispossession and colonization of many Native peoples. One instance where this is the case is in Nanook of the North, directed by Robert J. Flaherty. This film, directed in 1932, focuses on the daily activities of a family of Quebec Inuit Indians. This society was portrayed

Moreover, the film “Atanarjuat (The Fast Runner)” is an illustration of visual sovereignty as well, being the “first Inuit feature-length film.” Raheja writes (Raheja 14). The visual sovereignty is maintained Raheja explains, by the use of indigenous actors who speak the native language, Inuktitut, translated with English captions along with the refusal to edit out scenes of everyday life (Raheja 20). Scenes such as these are considered boring and usually removed from Hollywood movies, Raheja says (Raheja 20).