Native Recognition

Joanna Hearne

Description

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.

Native Recognition brings together a wide range of little-known productions, from the silent films of James Young Deer, to recovered prints of the 1928 Ramona and the 1972 House Made of Dawn, to the experimental and feature films of Victor Masayesva and Chris Eyre. Using international archival research and close visual analysis, Hearne expands our understanding of the complexity of Native presence in cinema both on screen and through the circuits of film production and consumption.
List of Illustrations
Acknowledgments
Introduction: Before-and-After: Vanishing and Visibility in Native American Images

Part I: Indigenous Presence in the Silent Western

1. Reframing the Western Imaginary: James Young Deer, Lillian St. Cyr, and the “Squaw Man” Indian Dramas

2. “Strictly American Cinemas”: Social Protest in The Vanishing American, Redskin, and Ramona

Part II: Documenting Midcentury Images

3. “As If I Were Lost and Finally Found”: Repatriation and Visual Continuity in Imagining Indians and The Return of Navajo Boy

Part III: Independent Native Features

4. Imagining the Reservation in House Made of Dawn and Billy Jack

5. “Indians Watching Indians on TV”: Native Spectatorship and the Politics of Recognition in Skins and Smoke Signals

Coda
Persistence Vision
Notes
Works Cited
Index

Sujets

• Película fotográfica
• Popular culture
• Visual culture
• Indigenous peoples
• Film

Informations

• Publié par: State University of New York Press
• Date de parution: 25 janvier 2013
• Nombre de lectures: 0
• EAN13: 9781438443997
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

Also in the series
William Rothman, editor, Cavell on Film
J. David Slocum, editor, Rebel Without a Cause
Joe McElhaney, The Death of Classical Cinema
Kirsten Moana Thompson, Apocalyptic Dread
Frances Gateward, editor, Seoul Searching
Michael Atkinson, editor, Exile Cinema
Bert Cardullo, Soundings on Cinema
Paul S. Moore, Now Playing
Robin L. Murray and Joseph K. Heumann, Ecology and Popular Film
William Rothman, editor, Three Documentary Filmmakers
Sean Griffin, editor, Hetero
Jean-Michel Frodon, editor, Cinema and the Shoah
Carolyn Jess-Cooke and Constantine Verevis, editors, Second Takes
Matthew Solomon, Fantastic Voyages of the Cinematic Imagination

Native Recognition
Indigenous Cinema and the Western
Joanna Hearne

Cover art jacket image: Film still of Kraig Craig from Wish Henry, on July 4th, 2010 , courtesy Dustinn Craig. http://vimeo.com/13121992 . With thanks to Elizabeth M. Claffey for help with the cover design.
Published by State University of New York Press, Albany
© 2012 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher
For information, contact State University of New York Press, Albany, NY www.sunypress.edu
Production by Eileen Nizer Marketing by Michael Campochiaro
Library of Congress Cataloging-in-Publication Data
Hearne, Joanna.
Native recognition : indigenous cinema and the western / Joanna Hearne.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-4384-4397-3 (hardcover : alk. paper)
1. Indians in motion pictures. 2. Indigenous films—United States. 3. Western films—United States. I. Title.
PN1995.9.I48H43 2012
791.43'658730497—dc23
2011047986
10 9 8 7 6 5 4 3 2 1

A portion of the proceeds from this book will be donated to the non-profit organization Vision Maker Media (formerly Native American Public Telecommunications, NAPT), in support of media workshops and fellowships for young Native filmmakers. Please visit their website: www.visionmakermedia.org
List of Illustrations
Most of the silent film images in this book are from the Library of Congress's Motion Picture, Broadcasting, and Recorded Sound Division ( LC ). Promotional stills are courtesy of the Academy of Motion Picture Arts and Sciences ( AMPAS ). Photographs and stills from other sources are attributed in the caption. The images from The Return of Navajo Boy are courtesy of Groundswell Educational Films, and the dedication photograph from Husk of Time: The Photographs of Victor Masayesva is courtesy of Victor Masayesva. Images not otherwise attributed are frame enlargements.
Introduction I.1. Hollywood star Richard Dix with Diné children. NA/RG29 NR. Bureau of Census. Prints: Navajo Indians. 1930. Box 1. No. 29-NR-31. National Archives I.2. “The Three Chiefs—Piegan.” Edward S. Curtis. Image courtesy of the Charles Deering McCormick Library of Special Collections, Northwestern University Library, used with permission I.3. Tom Torlino before education at the Carlisle School. Photograph taken by John Choate in 1882. Image courtesy of the Cumberland County Historical Society, PA-CH2-004a (BS-CH-008) (12-26-03) I.4. Tom Torlino after education at the Carlisle School. Photograph taken by John Choate in 1885. Image courtesy of the Cumberland County Historical Society, PA-CH2-004a (BS-CH-012) (12-26-04) I.5. Three Laguna Pueblo students on arrival at the Carlisle School, from left, Mary Perry, John (Chaves) Menaul, and Benjamin Thomas. Photograph taken by John Choate in 1880. Image courtesy of the Cumberland County Historical Society, CS-CH-72 (10B-02-01) I.6. Three Pueblo students after about four years at the Carlisle School, from left, John (Menaul) Chaves, Mary Perry, Benjamin Thomas. Image courtesy of the Cumberland County Historical Society, PA—CH1—30a (10B—02—02) I.7. The Lure of Woman , World Film Corp. (1915) ( LC ) I.8. Redskin , Paramount (1929) ( AMPAS ) I.9. Devil's Doorway , MGM (1950)
Chapter 1 1.1. The Invaders , Kay-Bee (1912) ( LC ), signing the treaty 1.2. The Invaders , Kay-Bee (1912) ( LC ), surveyors look through the viewscope 1.3. The Invaders , Kay-Bee (1912) ( LC ) rereading the treaty with Sky Star (Ann Little) 1.4. The Squaw Man , MGM (1931), Warner Baxter as James Wingate and Lupe Velez as Naturich, promotional still ( AMPAS ) 1.5. A Pueblo Legend , Biograph (1913) ( LC ) 1.6. The Tourists , Biograph (1912) ( LC ) 1.7. Iola's Promise , Biograph (1912) ( LC ), Dora and Iola exchange clothes 1.8. Iola's Promise , Biograph (1912) ( LC ), Iola's death 1.9. Maya, Just an Indian , Frontier (1913) ( LC ), Maya is ordered to change her clothes 1.10. Maya, Just an Indian , Frontier (1913) ( LC ), the courtship 1.11. Maya, Just an Indian , Frontier (1913) ( LC ), Maya cradles the bag of gold 1.12. The Corporal's Daughter , Edison (1915) ( LC ) 1.13. The Red Girl , AM&B (1908) ( LC ) 1.14. A Mohawk's Way , Biograph (1910) ( LC ) 1.15. The Aborigine's Devotion , World Film Mfg. Co. (1909) ( LC ) 1.16. The Call of the Wild , AM&B (1908) ( LC ), George Redfeather (Charles Inslee) attends a party in Western clothes 1.17. The Call of the Wild , AM&B (1908) ( LC ), George Redfeather (Charles Inslee) changes clothes after his proposal is rejected 1.18. The Half-Breed , Triangle (1916) ( LC ), Lo (Douglas Fairbanks) 1.19. The Half-Breed , Triangle (1916) ( LC ), changing clothes 1.20. The Indian Massacre , Bison (1912) ( LC ), Native mother (Ann Little) and child 1.21. The Indian Massacre , Bison (1912) ( LC ), taking a settler child 1.22. The Indian Massacre , Bison (1912) ( LC ), separating settler mother and child 1.23. The Indian Massacre , Bison (1912) ( LC ), reuniting settler mother and child 1.24. The Indian Massacre , Bison (1912) ( LC ), mourning the Native child 1.25. The Redman and the Child , AM&B (1908) ( LC ) 1.26. Little Dove's Romance , Bison (1911) ( LC ), Lillian St. Cyr (left) and James Young Deer (center) 1.27. The Friendly Indian , Gaston Melies, Siegmund Lubin (1909) ( LC ), Lillian St. Cyr (unconfirmed) and James Young Deer 1.28. White Fawn's Devotion , Pathé Frères Films (1910) ( LC ) 1.29. For the Papoose , Pathé Frères Films (1912) ( LC ), settler husband grabs his wife (St. Cyr) 1.30. For the Papoose , Pathé Frères Films (1912) ( LC ), settler husband takes his child
Chapter 2 2.1. The American Indian: Government Education , Harmon Foundation (1933) ( LC ) 2.2. The Heart of Wetona , Norma Talmadge Film Corp. (1919) ( LC ), Wetona (Norma Talmadge), returned from boarding school, is separated from her father Chief Quannah (Fred Huntley) by her love interest, John Hardin (Thomas Meighan) 2.3. The Heart of Wetona , Norma Talmadge Film Corp. (1919), Norma Talmadge as Wetona, promotional still ( AMPAS ) 2.4. Red Love , Lowell Film Productions (1925) ( LC ), sending Little Antelope to school 2.5. Red Love , Lowell Film Productions (1925) ( LC ), interracial family dinner 2.6. Red Love , Lowell Film Productions (1925) ( LC ), James Logan/Little Antelope (F. Serrano Keating) and Thunder Cloud (John Lowell) are reunited, as Starlight (Evangeline Russell) looks on 2.7. The Vanishing American , Paramount (1925), view of the set, promotional still ( AMPAS ) 2.8. Redskin , Paramount (1929), staged fitting, promotional still ( AMPAS ) 2.9. The Vanishing American , Paramount (1925), the Pledge of Allegiance 2.10. The Vanishing American , Paramount (1925), Nophaie (Richard Dix) is cornered 2.11. The Vanishing American , Paramount (1925), Nophaie's bible lesson 2.12. The Vanishing American , Paramount (1925), Richard Dix with children, promotional still ( AMPAS ) 2.13. The Vanishing American , Paramount (1925), Lois Wilson with a baby, promotional still ( AMPAS ) 2.14. Redskin , Paramount (1929), Chahi (Bernard Siegel) and Wing Foot 2.15. Redskin , Paramount (1929), superimposed rug and text 2.16. Redskin , Paramount (1929), Wing Foot and his grandmother (Augustina Lopez) 2.17. Redskin , Paramount (1929), Indian agent Walton (Larry Steers) takes Wing Foot from his grandmother 2.18. Redskin , Paramount (1929), Indian agent takes Wing Foot from Chahi 2.19. Redskin , Paramount (1929), Wing Foot is forced to salute the flag 2.20. Redskin , Paramount (1929), the adult Wing Foot (Richard Dix) eagerly salutes the flag 2.21. Redskin , Paramount (1929), after Wing Foot wins a footrace for Thorpe College 2.22. Redskin , Paramount (1929), Pueblo Jim (Noble Johnson) assaults Corn Blossom (Gladys Belmont) 2.23. Ramona , Inspiration Pictures (1928), Alessandro (Warner Baxter) and Ramona (Dolores Del Rio), promotional still ( AMPAS ) 2.24. Ramona , Inspiration Pictures (1928), Ramona with her child (Rita Carewe), promotional still ( AMPAS ) 2.25. Edwin Carewe 2.26. Finis Fox
Chapter 3 3.1. Poster for The Return of Navajo Boy , Groundswell Educational Films (2001) 3.2. Imagining Indians , Victor Masayesva (1993), painted setting 3.3. Imagining Indians , Victor Masayesva (1993), Marvin Clifford 3.4. Footage from The Plainsman (1936) in Imagining Indians , Victor Masayesva (1993) 3.5. Imagining Indians , Victor Masayesva (1993), dental patient (Patty Runs after Swallow) 3.6. Imagining Indians , Victor Masayesva (1993), dental drill and Western poster 3.7. Imagining Indians , Victor Masayesva (1993), drilling the lens 3.8. Imagining Indians , Victor Masayesva (1993