Detours Homeward: Indigenous Uses of the Road Movie
This article examines three of the earliest Indigenous films to engage with and to transform a genre that might normally be understood as colonial due to its historical relationship to American national identity. However, Bázo (Sami), Smoke Signals (Native American), and Beneath Clouds (Aboriginal A...
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2010
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ftunivwestonta:oai:ir.lib.uwo.ca:filmpub-1190 2023-10-01T03:59:15+02:00 Detours Homeward: Indigenous Uses of the Road Movie Gay Pearson, Wendy 2010-10-01T07:00:00Z https://ir.lib.uwo.ca/filmpub/140 unknown Scholarship@Western https://ir.lib.uwo.ca/filmpub/140 Film Studies Publications Native studies road movie Film and Media Studies article 2010 ftunivwestonta 2023-09-03T06:51:16Z This article examines three of the earliest Indigenous films to engage with and to transform a genre that might normally be understood as colonial due to its historical relationship to American national identity. However, Bázo (Sami), Smoke Signals (Native American), and Beneath Clouds (Aboriginal Australian) all rework the genre in different and sometimes surprising ways, yet always in the service of a decolonizing project that sees Indigenous film-making as a singularly important anti-colonial tool. Each film imagines a notion of "home" that is both a recognition of the importance of family, kinship and land and a culturally specific corrective to stereotypic colonial misrepresentation. Article in Journal/Newspaper sami sami The University of Western Ontario: Scholarship@Western |
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Open Polar |
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The University of Western Ontario: Scholarship@Western |
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ftunivwestonta |
language |
unknown |
topic |
Native studies road movie Film and Media Studies |
spellingShingle |
Native studies road movie Film and Media Studies Gay Pearson, Wendy Detours Homeward: Indigenous Uses of the Road Movie |
topic_facet |
Native studies road movie Film and Media Studies |
description |
This article examines three of the earliest Indigenous films to engage with and to transform a genre that might normally be understood as colonial due to its historical relationship to American national identity. However, Bázo (Sami), Smoke Signals (Native American), and Beneath Clouds (Aboriginal Australian) all rework the genre in different and sometimes surprising ways, yet always in the service of a decolonizing project that sees Indigenous film-making as a singularly important anti-colonial tool. Each film imagines a notion of "home" that is both a recognition of the importance of family, kinship and land and a culturally specific corrective to stereotypic colonial misrepresentation. |
format |
Article in Journal/Newspaper |
author |
Gay Pearson, Wendy |
author_facet |
Gay Pearson, Wendy |
author_sort |
Gay Pearson, Wendy |
title |
Detours Homeward: Indigenous Uses of the Road Movie |
title_short |
Detours Homeward: Indigenous Uses of the Road Movie |
title_full |
Detours Homeward: Indigenous Uses of the Road Movie |
title_fullStr |
Detours Homeward: Indigenous Uses of the Road Movie |
title_full_unstemmed |
Detours Homeward: Indigenous Uses of the Road Movie |
title_sort |
detours homeward: indigenous uses of the road movie |
publisher |
Scholarship@Western |
publishDate |
2010 |
url |
https://ir.lib.uwo.ca/filmpub/140 |
genre |
sami sami |
genre_facet |
sami sami |
op_source |
Film Studies Publications |
op_relation |
https://ir.lib.uwo.ca/filmpub/140 |
_version_ |
1778532987001896960 |