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In "Native Recognition," Joanna Hearne persuasively argues for the
central role of Indigenous image-making in the history of American
cinema. Across the twentieth and into the twenty-first centuries,
Indigenous peoples have been involved in cinema as performers,
directors, writers, consultants, crews, and audiences, yet both the
specificity and range of this Native participation have often been
obscured by the on-screen, larger-than-life images of Indians in
the Western. Not only have Indigenous images mattered to the
Western, but Westerns have also mattered to Indigenous filmmakers
as they subvert mass culture images of supposedly vanishing
Indians, repurposing the commodity forms of Hollywood films to
envision Native intergenerational continuity. Through their
interventions in forms of seeing and being seen in public culture,
Native filmmakers have effectively marshaled the power of visual
media to take part in national discussions of social justice and
political sovereignty for North American Indigenous peoples.
In "Native Recognition," Joanna Hearne persuasively argues for the
central role of Indigenous image-making in the history of American
cinema. Across the twentieth and into the twenty-first centuries,
Indigenous peoples have been involved in cinema as performers,
directors, writers, consultants, crews, and audiences, yet both the
specificity and range of this Native participation have often been
obscured by the on-screen, larger-than-life images of Indians in
the Western. Not only have Indigenous images mattered to the
Western, but Westerns have also mattered to Indigenous filmmakers
as they subvert mass culture images of supposedly vanishing
Indians, repurposing the commodity forms of Hollywood films to
envision Native intergenerational continuity. Through their
interventions in forms of seeing and being seen in public culture,
Native filmmakers have effectively marshaled the power of visual
media to take part in national discussions of social justice and
political sovereignty for North American Indigenous peoples.
Born in Oklahoma into the Chickasaw Nation, Wallace Fox directed films over the span of four decades. Known primarily for Westerns and mystery films, his output starred such famed actors as Bela Lugosi, Bob Steele, and Lon Chaney. ReFocus: The Films of Wallace Fox includes analysis of some of his best known films, including Wild Beauty, Gun Town, The Corpse Vanishes, Bowery at Midnight, Career Girl and Brenda Starr, Reporter. It reclaims the history and artistry of this major talent.
"Smoke Signals" is a historical milestone in Native American
filmmaking. Released in 1998 and based on a short-story collection
by Sherman Alexie, it was the first wide-release feature film
written, directed, coproduced, and acted by Native Americans. The
most popular Native American film of all time, "Smoke Signals" is
also an innovative work of cinematic storytelling that demands
sustained critical attention in its own right. Embedded in "Smoke
Signals"'s universal story of familial loss and renewal are
uniquely Indigenous perspectives about political sovereignty,
Hollywood's long history of misrepresentation, and the rise of
Indigenous cinema across the twentieth and twenty-first centuries.
Joanna Hearne's work foregrounds the voices of the filmmakers and
performers--in interviews with Alexie and director Chris Eyre,
among others--to explore the film's audiovisual and narrative
strategies for speaking to multiple audiences. In particular,
Hearne examines the filmmakers' appropriation of mainstream
American popular culture forms to tell a Native story. Focusing in
turn on the production and reception of the film and issues of
performance, authenticity, social justice, and environmental
history within the film's text and context, this in-depth
introduction and analysis expands our understanding and deepens our
enjoyment of a Native cinema landmark.
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