Pocahontas and Settler Colonialism in Early Film, 1907– 1910

Frymus, Agata

doi:10.1353/cj.2021.0028

Cited by 3 publications

(2 citation statements)

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“…The global 'Great Land Rush' (see Weaver 2006), the actual occupation of Indigenous lands by settlers, ended in projection, a very real metaphor-and cinema, after all, is literally about projecting. It seems significant that early cinema was very much about representing the settler colonial story, and so were the Western movies of classic cinema (see Frymus 2021;Gish Bernd 2005). Telling the story of settler colonialism is still one of the things cinema does best (Veracini 2020;Lechuga 2023).…”

Section: Homology and Surrogacymentioning

confidence: 99%

Cinema, the Settler

Veracini

2023

Humanities

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While the history and technology of cinema are considered for the purpose of achieving decolonial ends, this paper suggests that ‘classic’ cinema may be considered a quintessentially settler colonial medium. However, the moving image is now delivered in new ways and through new devices, and streaming has transformed global patterns of cinema production and consumption. Thus, two developments are considered in relation to this transformation. On the one hand, there are signs that mainstream cinema may be genuinely addressing its implication with colonialism, and this paper focuses on a formal apology and on a big budget movie that adopted a radically innovative approach to representing Indigenous peoples: Prey (2022). On the other hand, streaming has made cinema portable and has made consumption in personally deliberated instalments possible. The ‘digital natives’ consume cinema in fragmented and noncollective patterns, and their activity is subjected to unprecedented modalities of surveillance and appropriation. This paper concludes that a form of digital colonialism supported by streaming operates in ways that are homologous with modes of settler colonial appropriation.

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Section: Homology and Surrogacymentioning

confidence: 99%

Cinema, the Settler

Veracini

2023

Humanities

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“…Yet, it was clear to us that our respective work drew on vastly different approaches to the subjects. While Luca Antoniazzi (2018Antoniazzi ( , 2020 deals with policy issues of digital preservation and curatorship, Agata Frymus's (2020Frymus's ( , 2021 primary research focus is on silent film audiences and stardom. Laurence Carr was, at the time, completing a PhD thesis on the visual representations of sound in Weimar cinema.…”

Section: Special Issue Backgroundmentioning

confidence: 99%