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Etude de l'évolution des personnages d'Amérindiens dans les films américains, de la construction de stéréotypes éloignés de la condition indienne, à la production de films par des Indiens depuis les années 1960.
Indians in motion pictures --- Indian motion pictures --- Indiens d'Amérique au cinéma --- Cinéma indien d'Amérique --- Indiens d'Amérique --- Cinéma --- Réalisateurs de cinéma --- Indiens d'Amérique dans l'industrie du cinéma --- Indiens d'Amerique au cinema --- Cinema indien d'Amerique --- Au cinéma --- Thèmes, motifs --- Indiens d'Amérique au cinéma --- Cinéma indien d'Amérique --- Thèmes, motifs. --- Au cinéma. --- Indiens d'Amérique dans l'industrie du cinéma. --- Cinéma --- Au cinéma. --- Thèmes, motifs. --- Indiens d'Amérique --- Réalisateurs de cinéma --- Indiens d'Amérique dans l'industrie du cinéma.
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This is the first book that comprehensively examines Indigenous filmmaking in North America, as it analyzes in detail a variety of representative films by Canadian and US-American Indigenous filmmakers: two films that contextualize the oral tradition, three short films, and four dramatic films. The book explores how members of colonized groups use the medium of film as a means for cultural and political expression and thus enter the dominant colonial film discourse and create an answering discourse. The theoretical framework is developed as an interdisciplinary approach, combining postcolonialism, Indigenous studies, and film studies. As Indigenous people are gradually taking control over the imagemaking process in the area of film and video, they cease being studied and described objects and become subjects who create self-controlled images of Indigenous cultures. The book explores the translatability of Indigenous oral tradition into film, touching upon the changes the cultural knowledge is subject to in this process, including statements of Indigenous filmmakers on this issue. It also asks whether or not there is a definite Indigenous film practice and whether filmmakers tend to dissociate their work from dominant classical filmmaking, adapt to it, or create new film forms and styles through converging classical film conventions and their conscious violation. This approach presupposes that Indigenous filmmakers are constantly in some state of reaction to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. The films analyzed are The Road Allowance People by Maria Campbell, Itam Hakim, Hopiit by Victor Masayesva, Talker by Lloyd Martell, Tenacity and Smoke Signals by Chris Eyre, Overweight With Crooked Teeth and Honey Moccasin by Shelley Niro, Big Bear by Gil Cardinal, and Atanarjuat: The Fast Runner by Zacharias Kunuk.
Indian motion pictures --- Ethnographic films --- Indians in the motion picture industry --- Indians in motion pictures. --- Indian mass media --- Indigenous peoples and mass media --- Mass media and indigenous peoples --- Mass media --- Indians of North America --- Mass media, Indian --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures --- Motion pictures --- Motion picture industry --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Motion pictures, Indian --- Mass media and Indigenous peoples
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Imagine the patriotic camaraderie of national day parades. How crucial is performance for the sustenance of the nation? The Performance of Nationalism considers the formation of the Indian and Pakistani nation, in the wake of the most violent chapter of its history: the partition of the subcontinent. In the process, Jisha Menon offers a fresh analysis of nationalism from the perspective of performance. Menon recuperates the manifold valences of 'mimesis' as aesthetic representation, as the constitution of a community of witnesses, and as the mimetic relationality that underlies the encounter between India and Pakistan. The particular performances considered here range from Wagah border ceremonies, to the partition theatre of Asghar Wajahat, Kirti Jain, M. K. Raina, and the cinema of Ritwik Ghatak and M. S. Sathyu. By pointing to the tropes of twins, doubles, and doppelgangers that suffuse these performances, this study troubles the idea of two insular, autonomous nation-states of India and Pakistan. In the process, Menon recovers mimetic modes of thinking that unsettle the reified categories of identity politics.
Performing arts --- Social aspects --- Political aspects --- Indic drama --- Nationalism in literature. --- Partition, Territorial, in literature. --- Partition, Territorial, in motion pictures. --- Motion pictures, Indic. --- Nationalism in motion pictures. --- Motion pictures --- East Indian motion pictures --- Indic motion pictures --- Motion pictures, East Indian --- Foreign films --- Indic literature --- History and criticism. --- India --- Pakistan --- Dominion of Pakistan --- Bākistān --- Islamic Republic of Pakistan --- Islamskai︠a︡ Respublika Pakistan --- Islami Jamhuriya e Pakistan --- Pākistāna --- پاکِستان --- Islāmī Jumhūrī-ye Pākistān --- باكستان --- Paquistan --- Пакістан --- Ісламская Рэспубліка Пакістан --- Пакистан --- Ислямска република Пакистан --- Isli︠a︡mska republika Pakistan --- Islamische Republik Pakistan --- Eʼeʼaahjí Naakaii Dootłʼizhí Bikéyah --- Pakistani Islamivabariik --- Πακιστάν --- Ισλαμική Δημοκρατία του Πακιστάν --- Islamikē Dēmokratia tou Pakistan --- Jamhuryat Islami Pakistan --- State of Pakistan --- Islāmī Jumhūriyah Pākistān --- パキスタン --- Pakisutan --- West Pakistan (Pakistan) --- History --- Influence. --- In literature. --- In motion pictures.
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