Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender
The animated series Avatar: The Last Airbender plays as a response to the broader tradition of American captivity narratives, a genre in which one “captive” character or group is emotionally or physically constrained by a “captor.” Captivity narratives have historical roots in American colonial acco...
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ftbridgewatersta:oai:vc.bridgew.edu:undergrad_rev-1451 2023-05-15T16:55:11+02:00 Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender Wood, Peter 2018-01-01T08:00:00Z application/pdf https://vc.bridgew.edu/undergrad_rev/vol14/iss1/25 https://vc.bridgew.edu/cgi/viewcontent.cgi?article=1451&context=undergrad_rev unknown Virtual Commons - Bridgewater State University https://vc.bridgew.edu/undergrad_rev/vol14/iss1/25 https://vc.bridgew.edu/cgi/viewcontent.cgi?article=1451&context=undergrad_rev Articles published in The Undergraduate Review are the property of the individual contributors and may not be reprinted, reformatted, repurposed or duplicated, without the contributor’s consent. Undergraduate Review text 2018 ftbridgewatersta 2022-04-10T20:45:00Z The animated series Avatar: The Last Airbender plays as a response to the broader tradition of American captivity narratives, a genre in which one “captive” character or group is emotionally or physically constrained by a “captor.” Captivity narratives have historical roots in American colonial accounts, especially those by white women, of being captured by mostly male, or at least masculine-coded, American Indians. Avatar: The Last Airbender, commonly referred to as ATLA, takes place in a world of four nations: the Water Tribes, Earth Kingdom, Fire Nation, and the Air Nomads, which are based on Inuit, Chinese, Japanese, and Tibetan cultures respectively. It details the journey of a young nomad named Aang and his friends to end a century-long war with the technologically advanced Fire Nation. As the series progresses, it most noticeably incorporates the captor-captive dynamic into its protagonists Aang, Katara, and Sokka, who are fleeing and, at times, captured by Prince Zuko of the Fire Nation. It is worth noting that Zuko fills both roles, hoping to convince his father to reverse his banishment from the Fire Nation by trying to capture Aang Text inuit Bridgewater State University: Virtual Commons Katara ENVELOPE(44.987,44.987,65.619,65.619) Sokka ENVELOPE(19.985,19.985,69.262,69.262) |
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Bridgewater State University: Virtual Commons |
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The animated series Avatar: The Last Airbender plays as a response to the broader tradition of American captivity narratives, a genre in which one “captive” character or group is emotionally or physically constrained by a “captor.” Captivity narratives have historical roots in American colonial accounts, especially those by white women, of being captured by mostly male, or at least masculine-coded, American Indians. Avatar: The Last Airbender, commonly referred to as ATLA, takes place in a world of four nations: the Water Tribes, Earth Kingdom, Fire Nation, and the Air Nomads, which are based on Inuit, Chinese, Japanese, and Tibetan cultures respectively. It details the journey of a young nomad named Aang and his friends to end a century-long war with the technologically advanced Fire Nation. As the series progresses, it most noticeably incorporates the captor-captive dynamic into its protagonists Aang, Katara, and Sokka, who are fleeing and, at times, captured by Prince Zuko of the Fire Nation. It is worth noting that Zuko fills both roles, hoping to convince his father to reverse his banishment from the Fire Nation by trying to capture Aang |
format |
Text |
author |
Wood, Peter |
spellingShingle |
Wood, Peter Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
author_facet |
Wood, Peter |
author_sort |
Wood, Peter |
title |
Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
title_short |
Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
title_full |
Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
title_fullStr |
Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
title_full_unstemmed |
Reframing Sympathy for Indigenous Captives in Avatar: The Last Airbender |
title_sort |
reframing sympathy for indigenous captives in avatar: the last airbender |
publisher |
Virtual Commons - Bridgewater State University |
publishDate |
2018 |
url |
https://vc.bridgew.edu/undergrad_rev/vol14/iss1/25 https://vc.bridgew.edu/cgi/viewcontent.cgi?article=1451&context=undergrad_rev |
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ENVELOPE(44.987,44.987,65.619,65.619) ENVELOPE(19.985,19.985,69.262,69.262) |
geographic |
Katara Sokka |
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Katara Sokka |
genre |
inuit |
genre_facet |
inuit |
op_source |
Undergraduate Review |
op_relation |
https://vc.bridgew.edu/undergrad_rev/vol14/iss1/25 https://vc.bridgew.edu/cgi/viewcontent.cgi?article=1451&context=undergrad_rev |
op_rights |
Articles published in The Undergraduate Review are the property of the individual contributors and may not be reprinted, reformatted, repurposed or duplicated, without the contributor’s consent. |
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