MARC Record from marc_columbia

LEADER: 03719cam a2200553 a 4500
001 8408674
005 20190520064807.0
008 100625s2010 nbua b s001 0 eng
010 $a 2010026528
024 $a99980855379
024 $a40018848100
035 $a(OCoLC)555650123$z(OCoLC)718688162
035 $a(OCoLC)ocn555650123
040 $aDLC$beng$cDLC$dYDX$dBTCTA$dYDXCP$dTXX$dYAM$dCDX$dBWX$dCHRRO$dUKMGB$dMIX$dDGN$dBDX$dVP@$dOCLCF$dOCLCQ
019 $a718688162
020 $a9780803245976
020 $a9780803211261 (cloth : alk. paper)
020 $a0803211260 (cloth : alk. paper)
042 $apcc
043 $an-us---
050 00 $aPN1995.9.I48$bR34 2010
072 7 $as1ba$2rero
082 00 $a302.23089$222
100 1 $aRaheja, Michelle H.
245 10 $aReservation reelism :$bredfacing, visual sovereignty, and representations of Native Americans in film /$cMichelle H. Raheja.
260 $aLincoln :$bUniversity of Nebraska Press,$c©2010.
300 $axviii, 338 pages :$billustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 291-317) and index.
505 0 $aToward 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).
520 $aIn 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 $aNative 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.
650 0 $aIndians in motion pictures.
650 0 $aIndigenous peoples in motion pictures.
650 0 $aIndians in the motion picture industry$zUnited States.
650 0 $aStereotypes (Social psychology) in motion pictures.
650 0 $aMotion pictures$zUnited States$xHistory$y20th century.
650 7 $aIndians.$2fast$0(OCoLC)fst00969307
650 7 $aIndians in the motion picture industry.$2fast$0(OCoLC)fst00969428
650 7 $aIndigenous peoples.$2fast$0(OCoLC)fst00970213
650 7 $aMotion pictures.$2fast$0(OCoLC)fst01027285
650 7 $aStereotypes (Social psychology)$2fast$0(OCoLC)fst01431521
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
648 7 $a1900 - 1999$2fast
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
852 00 $bglx$hPN1995.9.I48$iR34 2010
852 00 $bbar$hPN1995.9.I48$iR34 2010