2016
DOI: 10.1590/2238-38752016v632
|View full text |Cite
|
Sign up to set email alerts
|

Indigenous Media From U-Matic to Youtube: Media Sovereignty in the Digital Age

Abstract: This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television … Show more

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
2
1
1

Citation Types

0
22
0
3

Year Published

2017
2017
2024
2024

Publication Types

Select...
7
1
1

Relationship

0
9

Authors

Journals

citations
Cited by 21 publications
(25 citation statements)
references
References 6 publications
(4 reference statements)
0
22
0
3
Order By: Relevance
“…In both Canada and Australia, Indigenous media production initially assembled in response to the national imposition of satellite‐based commercial television and the colonizing threat that mass media posed for Indigenous and First Nations vernacular languages, knowledge systems, and cultural practices, specifically in more remote parts of respective states and territories (see also Ginsburg ). Then, Indigenous resistance took shape through the counter‐production of locally made media (originally radio, video, and pirate television) in language, on country, for local purposes, in order to “fight fire with fire,” as early Warlpiri media producer Kumanjayi Japaljarri Spencer put it (Michaels ).…”
Section: New Media and The Hyperrealmentioning
confidence: 99%
See 1 more Smart Citation
“…In both Canada and Australia, Indigenous media production initially assembled in response to the national imposition of satellite‐based commercial television and the colonizing threat that mass media posed for Indigenous and First Nations vernacular languages, knowledge systems, and cultural practices, specifically in more remote parts of respective states and territories (see also Ginsburg ). Then, Indigenous resistance took shape through the counter‐production of locally made media (originally radio, video, and pirate television) in language, on country, for local purposes, in order to “fight fire with fire,” as early Warlpiri media producer Kumanjayi Japaljarri Spencer put it (Michaels ).…”
Section: New Media and The Hyperrealmentioning
confidence: 99%
“…As Marcia Langton (), Candice Hopkins (), Jason Edward Lewis (), and others have argued, Indigenous media histories need to be attended to through their own object forms and terms. This is crucial for what Ginsburg calls “media‐sovereignty,” the command over technologies as “an extension of collective self‐production in ways that enhance Indigenous regimes of value” (, 6). Garneau (this issue) frames it this way: “it might seem like a minor point, but the representation of Indigenous people by Indigenous people in a colonial state is always an act of sovereignty.”…”
Section: New Media and The Hyperrealmentioning
confidence: 99%
“…1 For more on VNA and its remarkable body of work, which includes more than 70 films, see Aufderheide (1995), Bloch (2004), Carvalho, Carvalho, andCarelli (2011), Córdova (2014), and Gallois and Carelli (1995 Barclay (2003), Ginsburg (1991Ginsburg ( , 1994Ginsburg ( , 1995Ginsburg ( , 1999Ginsburg ( , 2002Ginsburg ( , 2008Ginsburg ( , 2016, Prins (2002), Salazar and Córdova (2008), Smith (2012), Turner (1991Turner ( , 1992Turner ( , 1995Turner ( , 2002, Wilson and Stewart (2008), and Wortham (2013). 5 Here, I follow Poole's (1997) definition of visual economy as implying three mutually constitutive dynamics, including the schematics of production, circulatory regimes, and semantic systems through which images are assigned meaning and value.…”
Section: Notesmentioning
confidence: 99%
“…Nationwide effort to address this important area is evidenced by the formation of the Canadian Federation of Library Associations (CFLA-FCAB) Truth & Reconciliation Committee, whose responsibility is to work with Indigenous (First Nations, Metis, and Inuit) people to address issues related to libraries, archives, and cultural memory institutions (Callison, 2017). Indigenous communities around the world have been taking up digital media in their broader struggles for decolonization, self-representation, and selfdetermination (Ginsburg, 2016;O'Sullivan, 2013). Thus through digital media projects, Indigenous peoples have fostered a sense of community resistance to and power against dominant colonial narratives, and a sense of control over collective memory (Flinn et al, 2009, p. 82).…”
mentioning
confidence: 99%