This book compares the nineteenth-century settler literatures of Australia, Canada, South Africa, and the United States in order to examine how they enable readers to manage guilt accompanying European settlement. Reading canonical texts such as Last of the Mohicans and Backwoods of Canada against underanalyzed texts such as Adventures in Canada and George Linton or the First Years of a British Colony, it demonstrates how tropes like the settler hero and his indigenous servant, the animal hunt, the indigenous attack, and the lost child cross national boundaries. Settlers similarly responded to the stressors of taking another's land through the stories they told about themselves, which functioned to defend against uncomfortable feelings of guilt and ambivalence by creating new versions of reality. This book traces parallels in 20th and 21st century texts to ultimately argue that contemporary settlers continue to fight similar psychological and cultural battles since settlement is never complete.

This anthology adds to the burgeoning field of settler colonial studies by examining settler colonial narratives in the under analyzed medium of film. Cinematic Settlers discusses different cinematic genres, national traditions, and specific movies in order to expose related threads, shared circulations of knowledge, and paralleled representations. Organized into thematic groupings-conquest, settlers, natives, and space-the contributors explore the question of how film compares to written genres and other visual media in representing and effecting settler colonialism on a global scale. Striving for inclusiveness, the volume covers different eras and settler colonial situations in Australia, New Zealand, Taiwan, Hawaii, the American West, Canada, Latin America, Russia, France, Algeria, German Africa, South Africa, and even the next frontier: outer space. By showing how films offer layered, contested, and dynamic settler colonial narratives that advance and challenge settler hegemonic readings, the essays enable students to better analyze and understand the complex history of diversity and colonialism in film. This book is important reading for undergraduate classes on the history of empire, colonialism, and film.

This anthology adds to the burgeoning field of settler colonial studies by examining settler colonial narratives in the under analyzed medium of film. Cinematic Settlers discusses different cinematic genres, national traditions, and specific movies in order to expose related threads, shared circulations of knowledge, and paralleled representations. Organized into thematic groupings-conquest, settlers, natives, and space-the contributors explore the question of how film compares to written genres and other visual media in representing and effecting settler colonialism on a global scale. Striving for inclusiveness, the volume covers different eras and settler colonial situations in Australia, New Zealand, Taiwan, Hawaii, the American West, Canada, Latin America, Russia, France, Algeria, German Africa, South Africa, and even the next frontier: outer space. By showing how films offer layered, contested, and dynamic settler colonial narratives that advance and challenge settler hegemonic readings, the essays enable students to better analyze and understand the complex history of diversity and colonialism in film. This book is important reading for undergraduate classes on the history of empire, colonialism, and film.

Archiving Settler Colonialism: Culture, Race, and Space brings together 15 essays from across the globe, to capture a moment in settler colonial studies that turns increasingly towards new cultural archives for settler colonial research. Essays on hitherto under-examined materials-including postage stamps, musical scores, urban parks, and psychiatric records-reflect on how cultural texts archive moments of settler self-fashioning. Archiving Settler Colonialism also expands settler colonial studies' reach as an international academic discipline, bringing together scholarly research about the British breakaway settler colonies with underanalyzed non-white, non-Anglophone settler societies. The essays together illustrate settler colonial cultures as-for all their similarities-ultimately divergent constructions, locally situated and produced of specific power relations within the messy operations of imperial domination.

Postcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe. In the mid twentieth century, the political reality of resistance and decolonization lead to the creation of dozens of new states, forming a backdrop to films of that period. Towards the century's end and at the dawn of the new millennium, film continues to form a site for interrogating colonization and decolonization, though against a backdrop that is now more neo-colonial than colonial and more culturally imperial than imperial. This volume explores how individual films emerged from and commented on postcolonial spaces and the building and breaking down of the European empire. Each chapter is a case study examining how a particular film from a postcolonial nation emerges from and reflects that nation's unique postcolonial situation. This analysis of one nation's struggle with its coloniality allows each essay to investigate just what it means to be postcolonial.

Archiving Settler Colonialism: Culture, Race, and Space brings together 15 essays from across the globe, to capture a moment in settler colonial studies that turns increasingly towards new cultural archives for settler colonial research. Essays on hitherto under-examined materials-including postage stamps, musical scores, urban parks, and psychiatric records-reflect on how cultural texts archive moments of settler self-fashioning. Archiving Settler Colonialism also expands settler colonial studies' reach as an international academic discipline, bringing together scholarly research about the British breakaway settler colonies with underanalyzed non-white, non-Anglophone settler societies. The essays together illustrate settler colonial cultures as-for all their similarities-ultimately divergent constructions, locally situated and produced of specific power relations within the messy operations of imperial domination.

This book compares the nineteenth-century settler literatures of Australia, Canada, South Africa, and the United States in order to examine how they enable readers to manage guilt accompanying European settlement. Reading canonical texts such as Last of the Mohicans and Backwoods of Canada against underanalyzed texts such as Adventures in Canada and George Linton or the First Years of a British Colony, it demonstrates how tropes like the settler hero and his indigenous servant, the animal hunt, the indigenous attack, and the lost child cross national boundaries. Settlers similarly responded to the stressors of taking another’s land through the stories they told about themselves, which functioned to defend against uncomfortable feelings of guilt and ambivalence by creating new versions of reality. This book traces parallels in 20th and 21st century texts to ultimately argue that contemporary settlers continue to fight similar psychological and cultural battles since settlement is never complete.

Postcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe. In the mid twentieth century, the political reality of resistance and decolonization lead to the creation of dozens of new states, forming a backdrop to films of that period. Towards the century's end and at the dawn of the new millennium, film continues to form a site for interrogating colonization and decolonization, though against a backdrop that is now more neo-colonial than colonial and more culturally imperial than imperial. This volume explores how individual films emerged from and commented on postcolonial spaces and the building and breaking down of the European empire. Each chapter is a case study examining how a particular film from a postcolonial nation emerges from and reflects that nation's unique postcolonial situation. This analysis of one nation's struggle with its coloniality allows each essay to investigate just what it means to be postcolonial.

Through a detailed unpacking of the castaway genre's appeal in English literature, Empire Islands forwards our understanding of the sociopsychology of British Empire. Rebecca Weaver-Hightower argues convincingly that by helping generations of readers to make sense of--and perhaps feel better about--imperial aggression, the castaway story in effect enabled the expansion and maintenance of European empire. Empire Islands asks why so many colonial authors chose islands as the setting for their stories of imperial adventure and why so many postcolonial writers "write back" to those island castaway narratives. Drawing on insightful readings of works from Thomas More's Utopia to Caribbean novels like George Lamming's Water with Berries, from canonical works such as Robinson Crusoe and The Tempest to the lesser-known A Narrative of the Life and Astonishing Adventures of John Daniel by Ralph Morris, Weaver-Hightower examines themes of cannibalism, piracy, monstrosity, imperial aggression, and the concept of going native. Ending with analysis of contemporary film and the role of the United States in global neoimperialism, Weaver-Hightower exposes how island narratives continue not only to describe but to justify colonialism. Rebecca Weaver-Hightower is assistant professor of English and postcolonial studies at the University of North Dakota.