American Indians and the ethnocinematic complex: From native participation to production control

Prins, Harald E. L.

doi:10.1080/14725868908583640

Cited by 10 publications

(5 citation statements)

References 10 publications

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“…Margaret Mead suggested that visual documentations, such as the Navajo films, “will permit the descendants to repossess their cultural heritage (and, indeed, will permit present generations to incorporate it into their emerging styles)” (Mead :7–8). This statement, and the events and potentials surrounding Navajos Film Themselves , reflects broader trends in Native American/First Nations communities, where repatriation of visual and material cultural products sparks community reengagements with history that re‐create and resonate in contemporary practices, a hallmark of indigenous media as currently debated (Glass ; Griffiths ; Morris ; Prins ). In the Navajo case, these films, and the community's past and future participation in the project, reflect what Jennifer Denetdale () identifies as those Diné histories based on oral tradition and kinship, the kinds of stories and histories whose meanings have been most likely overlooked by non‐Native scholars—or filmmakers.…”

Section: Visual Sovereignty and Sam Yazzie's Sheepmentioning

confidence: 78%

Reclaiming Diné Film: Visual Sovereignty and the Return of Navajo Film Themselves

Peterson¹

2013

Visual Anthropology Review

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In the summer of 1966, seven Navajo community members from Pine Springs, Arizona, were the subjects of one of the most provocative experiments in cognitive and visual anthropology yet completed, the Navajo Film Project, resulting in Sol Worth and John Adair's seminal work Through Navajo Eyes, as well as seven short films produced by Navajo filmmakers that garnered worldwide attention in their own right. In 2011, the films were repaired and returned to the Navajo Nation for public screenings, the first step in a process of repatriation and resignification that mirrors the repatriation of other visual media to Navajo and indigenous communities. The return of the films offers a unique opportunity to reexamine the meanings of the films and the project itself, reframing the discussion around issues of visual sovereignty, community reengagements, and “reclaiming” Diné/Navajo histories.

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Section: Visual Sovereignty and Sam Yazzie's Sheepmentioning

confidence: 78%

Reclaiming Diné Film: Visual Sovereignty and the Return of Navajo Film Themselves

Peterson¹

2013

Visual Anthropology Review

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“…The notion of ethnocinema has been around since the early 1980s (Prins 1989), but a clear definition that distinguishes it from general ethnographic documentary film is still emerging. Even beyond other qualitative inquiry methods (such as ethnodrama), the subjects of ethnocinematic films may be objectified, "anthropologized," and patronized by viewing communities who believe they are observing a "real" look at a whole community; such is the legacy of ethnographic documentary out of which ethnocinema is emerging.…”

Section: Ethnocinema and The Bricolagementioning

confidence: 99%

Race and Refugeity: Ethnocinema as Radical Pedagogy

Harris

2010

Qualitative Inquiry

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This article introduces Cross-Marked: Sudanese Australian Young Women Talk Education, a series of seven short films made collaboratively with Sudanese young women from refugee backgrounds, examining their education experiences in Australia. The author frames this research through the emerging practice of ethnocinema and its relationship with ethnographic documentary. The coparticipants examine the prevailing social conditions for connectedness/disconnectedness in the context of a sometimes-hostile contemporary educational climate, as does the author/researcher through autoethnographic reflections on practice. The films use a “performative ethnography” to disrupt the folds and pleats of conventional stories told of and about the pedagogies of belonging and becoming. The films draw on the informants’ social practices of self to trouble teleological narratives of identity, and they offer a territory of possibilities for learning to “see more critically, think at a more critical level, and to recognise the forces that subtly shape their lives” (Kincheloe & McLaren)

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“…The appropriation and indigenization of Western systems of visual representation within First People's media making has thus entailed the production and regeneration of cultural identities, the promotion of social and political activism for self-determination and autonomy, the advancement of new cultural survival strategies and modes of selfrepresentation, the development of local and global networks of relations that extend both within and beyond the Fourth World, the mobilization of image apparatuses for the articulation, renewal, and circulation of indigenous counterhistories, and the introduction of new mechanisms for the preservation and revitalization of endangered native memories and practices (see, e.g., Aufderheide 1995;Gallois and Carelli 1995;Ginsburg 1991Ginsburg , 1995Ginsburg , 2002Ginsburg , 2003Himpele 2004Himpele , 2008Prins 1989Prins , 2002Shohat and Stam 1994;Turner 1991bTurner , 1992Turner , 1995Turner , 2002Valaskakis 2005;Weatherford 1990). The contemporary growth of indigenous media production collectives and activities emerged significantly in the wake of the new social movements and decolonization struggles of the 1960s and has substantially expanded with the proliferation of small, cheap, and accessible communication technologies and the spread of both narrowcasting and the digital revolution (Turner 1995).…”

Section: Indigenous Media (Counter)productionmentioning

confidence: 99%

Indigenous MediaSpace and the Production of (Trans)locality on Nicaragua’s Mosquito Coast

Glynn

Cupples

2010

Television & New Media

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This article draws on notions of networked and multiscalar globalities to explore recent developments around indigenous and Afro-Caribbean media in Nicaragua’s Atlantic Coast region, whose inhabitants are reasserting their collective autonomy by reinvigorating and reformulating a centuries-old ideal of cosmopolitanism forged through a long history of intercultural exchange and the indigenization of foreign elements. The authors argue that their activities are advancing the development of convergent cultures associated with counterinscriptions of a grassroots globalization and the expansion of contexts in which new forms of indigenous and Afro-Caribbean cultural citizenship can emerge and become effective. Hence, mediated practices of cultural persistence on Nicaragua’s Mosquito Coast intensify and broaden the revivification and circulation of relational, nonmodern ontologies whose epistemic force contributes to wider Latin American movements for social transformation and illustrates in new ways the importance and the potential of indigenous media operations and the intercultural global networks within which they are implicated.

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American Indians and the ethnocinematic complex: From native participation to production control

Cited by 10 publications

References 10 publications

Reclaiming Diné Film: Visual Sovereignty and the Return of Navajo Film Themselves

Reclaiming Diné Film: Visual Sovereignty and the Return of Navajo Film Themselves

Race and Refugeity: Ethnocinema as Radical Pedagogy

Indigenous MediaSpace and the Production of (Trans)locality on Nicaragua’s Mosquito Coast

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