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04079aam a2200481 i 4500 001 8F5FE118152711E3AA706A77DAD10320 003 SILO 005 20130904010050 008 121126s2013 gaua bq s001 0 eng 010 $a 2012042287 020 $a 0820345156 (pbk. : alk. paper) 020 $a 9780820345154 (pbk. : alk. paper) 020 $a 0820345148 (hardcover : alk. paper) 020 $a 9780820345147 (hardcover : alk. paper) 035 $a (OCoLC)819717609 040 $a DLC $b eng $e rda $c DLC $d YDX $d YDXCP $d OCLCO $d BTCTA $d BDX $d UKMGB $d BWX $d COO $d PUL $d CHVBK $d MUU $d STF $d YUS $d SILO 042 $a pcc 043 $a n-cn--- $a n-cn--- 050 00 $a PN1995.9.I48 $b S44 2013 082 00 $a 791.43/652997 $2 23 100 1 $a Schweninger, Lee. 245 10 $a Imagic moments : $b indigenous North American film / $c Lee Schweninger. 264 1 $a Athens : $b The University of Georgia Press, $c 2013. 300 $a xv, 247 pages : $b illustrations ; $c 24 cm 504 $a Includes bibliographical references and index. 504 $a Includes filmography. 505 0 $a Introduction: where to concentrate -- He was still the chief: Masayesva's imagining Indians -- Into the city: ordered freedom in The exiles -- The native presence in film: House made of dawn -- A concordance of narrative voices: Harold, trickster, and Harold of Orange -- I don't do portraits: Medicine River and the art of photography -- Keep your pony out of my garden: Powwow highway and "being Cheyenne" -- Feeling extra magical: the art of disappearing in Smoke signals -- Making his own music: death and life in The business of fancydancing -- Sharing the kitchen: Naturally native and women in American Indian film -- In the form of a spider: the interplay of narrative fiction and documentary in Skins -- The stories pour out: taking control in The doe boy -- Telling our own stories: seeking identity in Tkaronto -- People come around in circles: Harjo's Four sheets to the wind -- Epilogue: Barking water and beyond. 520 $a "In Indigenous North American film Native Americans tell their own stories and thereby challenge a range of political and historical contradictions, including egregious misrepresentations by Hollywood. Although Indians in film have long been studied, especially as characters in Hollywood westerns, Indian film itself has received relatively little scholarly attention. In Imagic Moments Lee Schweninger offers a much-needed corrective, examining films in which the major inspiration, the source material, and the acting are essentially Native. Schweninger looks at a selection of mostly narrative fiction films from the United States and Canada and places them in historical and generic contexts. Exploring films such as Powwow Highway, Smoke Signals, and Skins, he argues that in and of themselves these films constitute and in fact emphatically demonstrate forms of resistance and stories of survival as they talk back to Hollywood. Self-representation itself can be seen as a valid form of resistance and as an aspect of a cinema of sovereignty in which the Indigenous peoples represented are the same people who engage in the filming and who control the camera. Despite their low budgets and often nonprofessional acting, Indigenous films succeed in being all the more engaging in their own right and are indicative of the complexity, vibrancy, and survival of myriad contemporary Native cultures."--Publisher's website. 650 0 $a Indians in motion pictures. 650 0 $a Motion pictures $z United States. 650 0 $a Motion pictures $z Canada. 650 0 $a Indians in the motion picture industry $z United States. 650 0 $a Indians in the motion picture industry $z Canada. 650 7 $a Indianer. $2 gnd 650 7 $a Indianerfilm. $2 gnd 650 7 $a Filmwirtschaft. $2 gnd 651 7 $a USA. $2 gnd 651 7 $a Kanada. $2 gnd 941 $a 3 952 $l PLAX964 $d 20230718091309.0 952 $l USUX851 $d 20180502020139.0 952 $l OVUX522 $d 20180112030241.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=8F5FE118152711E3AA706A77DAD10320Initiate Another SILO Locator Search