LEADER 00000cam a2200913 a 4500 001 555650123 003 OCoLC 005 20161005104852.0 008 100625s2010 nbua b s001 0 eng 010 2010026528 015 GBB0B4036|2bnb 016 7 015654481|2Uk 019 718688162|a884323967 020 9780803211261|q(cloth ;|qalk. paper) 020 0803211260|q(cloth ;|qalk. paper) 020 9780803245976|q(paperback) 020 0803245971 040 DLC|beng|cDLC|dYDX|dBTCTA|dYDXCP|dTXX|dYAM|dCDX|dBWX |dCHRRO|dUKMGB|dMIX|dDGN|dBDX|dVP@|dOCLCF|dOCLCQ|dCHVBK |dOCLCO|dU2C|dOCL|dOCLCQ|dUMC|dS3O|dOCL|dCUY 042 pcc 043 n-us--- 050 00 PN1995.9.I48|bR34 2010 072 7 s1ba|2rero 082 00 302.23089|222 100 1 Raheja, Michelle H. 245 10 Reservation reelism :|bredfacing, visual sovereignty, and representations of Native Americans in film /|cMichelle H. Raheja. 260 Lincoln :|bUniversity of Nebraska Press,|c©2010. 300 xviii, 338 pages :|billustrations ;|c23 cm 336 text|btxt|2rdacontent 337 unmediated|bn|2rdamedia 338 volume|bnc|2rdacarrier 504 Includes bibliographical references (pages 291-317) and index. 505 0 Toward a genealogy of indigenous film theory : reading Hollywood Indians -- Ideologies of (in)visibility : redfacing, gender, and moving images -- Tears and trash : economies of redfacing and the ghostly Indian -- Prophesizing on the virtual reservation : Imprint and It starts with a whisper -- Visual sovereignty, indigenous revisions of ethnography, and Atanarjuat (The fast runner). 506 Pacific Film Archive collection; non-circulating.|5CBPF. 520 In This Deeply Engaging Account Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, spectators who helped shape Hollywood's representation of Indigenous peoples. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non- Native audiences. These films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or as inherently unable or unwilling to adapt to change. However, films with Indigenous plots and subplots also signify at least some degree of Native presence in a culture that largely defines Native peoples as absent or separate. 520 Native actors, directors, and spectators have had a part in creating these cinematic representations and have thus complicated the dominant, and usually that films portray. In Reservation Reelism Raheja examines the history of these Native actors, directors, and spectators, reveals their contributions, and attempts to create positive representations in films that reflect the complex and vibrant experiences of Native peoples and communities. -- Book Jacket. 648 7 1900-1999|2fast 650 0 Indians in motion pictures. 650 0 Indigenous peoples in motion pictures. 650 0 Indians in the motion picture industry|zUnited States. 650 0 Stereotypes (Social psychology) in motion pictures. 650 0 Motion pictures|zUnited States|xHistory|y20th century. 650 7 Indians in motion pictures.|2fast|0(OCoLC)fst00969423 650 7 Indians in the motion picture industry.|2fast |0(OCoLC)fst00969428 650 7 Indigenous peoples in motion pictures.|2fast |0(OCoLC)fst00970267 650 7 Motion pictures.|2fast|0(OCoLC)fst01027285 650 7 Stereotypes (Social psychology) in motion pictures.|2fast |0(OCoLC)fst01431527 650 7 Indianer.|0(DE-588)4026718-0|2gnd 650 7 Film.|0(DE-588)4017102-4|2gnd 650 7 Filmregisseur.|0(DE-588)4154375-0|2gnd 650 7 Filmschauspieler.|0(DE-588)4017140-1|2gnd 650 7 Indianerfilm.|0(DE-588)4501296-9|2gnd 650 7 Film.|2idszbz 650 7 Stereotyp.|2idszbz 650 7 Indianer på film.|2sfit 650 7 Etniska grupper på film.|2sfit 650 7 Indianer i filmindustrin, USA.|2sfit 651 7 United States.|2fast|0(OCoLC)fst01204155 651 7 USA.|0(DE-588)4078704-7|2gnd 651 7 USA.|2idszbz 655 7 History.|2fast|0(OCoLC)fst01411628 956 20161005 |bpfmcq|cMC 956 20130820|bqms 957 OCLC xref loaded 20180325 994 C0|bCUY