Atanarjuat And Smoke Signals: Film Analysis

Visual sovereignty and survivance in Atanarjuat and Smoke Signals are used to challenge the stereotype of “the Imaginary Indian”, yet redfacing is still a common mechanism used in Native American films that catalyzes this trope. Redfacing refers to the beginning of racist Native American stereotypes and drawings. In the case of the film industry, it also describes the bias the white producers, directors, and actors have against hiring real Native Americans to play Native American roles. Because of redfacing, there was an inaccurate display on film of how Native Americans looked in the past, and throughout the years the stereotype has gotten even more demeaning. Redfacing is disrespectful to Native American cultures as they are being misrepresented and Americans are given a false notion about the true sacredness and value behind the Native Americans’ lives. Thankfully, the method of redfacing had not been used in both Atanarjuat and Smoke Signals. Atanarjuat challenges these stereotypes by having an all Inuit cast and filmmaker and the writing, directing, and acting entirely in Inuktitut. Since historical accuracy

Even recently, controversial films have been released depicting Native Americans as fake or unrealistic to actual occurrences. The film industry needs to understand that their methods are demoralizing an entire community or culture of people, and they must be fully aware of the history before producing a Native American film. Visual sovereignty and survivance are some of the most important practices that would help films stay within the limits and not cross any lines by targeting Native American people and their culture. It is crucial for Hollywood cinema to continue making films that challenge the previous “Imaginary Indian” topic and tell a story that reveals the truth about Native American