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Stereotypical Native American roles in media and literature
Essay on the image of the native americans in films
The negative portrayal of Native Americans in movies and books
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The depictions of the people of the Pacific Islands by those of the surrounding world have been shaped greatly by perceptions carried back to native countries by early European explorers. The stereotypes and stigmas that have been attached to the complex and various cultures of the Pacific Islands has lead to a great deal of identity crisis within the islands.
The American film, South Pacific (1958), directed by Joshua Logan, clearly exemplifies the simplification of a culture in accordance to the social misconceptions of the blanket culture of the Pacific Islands. This film depicts the experiences of soldiers in the South Pacific, as the title suggests, in an idealized Hollywood manner. Aside from the quintessential blossoming romance storyline, the film is rife with cultural misrepresentations and a depiction of the American perception of the Pacific Islands. The representation of the indigenous people is wildly stylized and includes the usual stereotypical clothing, actions, and intellectual capacity. The cinematography grapples with the idea of the elusive paradise on the island of Bali Ha’i. These two major components of the film capture the absolute misunderstanding of a complex people to fit the expectations and entertainment of the people of the United States.
Within the film, various characters play into the tropes of the Pacific Islands, particularly the character, Bloody Mary and her daughter, Liat. Bloody Mary, though seemingly simple, plays a complicated role in this film. She serves as both the comic relief and the wise fool, serving as an operator of business of island merchandise. In the opening song of the film, “Bloody Mary,” the soldiers sing a mocking tribute to the island woman. They sing, “Blood...
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...s. “South Pacific Lyrics.” Last modified December 12, 2013. http://www.metrolyrics.com/bloody-mary-lyrics-south-pacific.html.
Nero, Karen L. “Time of Famine, Time of Transformation: Hell in the Pacific, Palau.” In The Pacific Theater: Island Representations of World War II, edited by Geoffrey M. White and Lamont Lindstrom, (pages). Honolulu: University of Hawaii Press, 1989.
Reed, John. “Review.” Review of The GI War against Japan, American Soldiers in Asia and the Pacific during World War II, by Peter Schrijver. The Journal of Military History, 2003.
Sledge, Eugene B. With the Old Breed. New York: Random House, 2007.
South Pacific. Directed by Joshua Logan. 1958. Kaui: South Pacific Enterprise, DVD.
University of Canterbury. “Macmillan Brown Centre for Pacific Studies.” Last modified December 12, 2013. http://www.pacs.canterbury.ac.nz/people/nero.shtml.
In the rough and tropical island of Papua New Guinea, lived an exceptional aggregation of individuals called, The Gebusi. In the 1980's, The Gebusi tribe was anything besides up to date and acculturated. The Gebusi had their own particular singular and special customs and conventions that they rehearsed and accompanied. The Gebusi tribe took part in custom homosexuality, divination or witchcraft was exceedingly respected and polished, and they partook in particular sister-trade relational unions. By 1998-99, The Gebusi tribe had made another lifestyle. The Gebusi had gotten accustomed with new social convictions, modernization due to “western ways” that had changed their lives until the end of time especially changing their ways and view on gender roles and sexuality.
Jean Giddens (2013) defines culture as “a pattern of shared attitudes, beliefs, self-definitions, norms, roles, and values that can occur among those who speak a particular language, or live in a defined geographical region.” (Giddens, 2013). A person’s culture influences every aspect that person’s life. Beliefs affected by culture include how someone interacts within the family, how to raise children, the types of foods eaten, the style of clothes chosen, which religion is practiced, and the style of communication (including verbal, and body language, slang used etc.) (Giddens, 2013). In addition to these beliefs, health care practices are also affected by culture. The cause
A small company of thirty-four New England missionaries came to Hawaii between 1820 and 1930, were the first modern immigrants. (Lind p.59) Missionaries were powerful agents of cultural destruction, coming to Hawaii to settle and teach their ways and beliefs. Bloodthirsty priests and despotic chiefs had ruled one reason for missionaries arriving and settling in Hawaii, due to the fact that they believed ancient Hawaiians. (Trask p.14) Bringing along cultural havoc by establishing a western style educational system, which included the first textbook as the Bible. The most critical change was in the use of language as a tool of colonization. Language had once been inseparable from the Hawaiians and their history by communicating their heritage between and among many generations, now came to be used as the very vehicle of alienation from their habits of life.
The Hawaiian culture is known throughout the western world for their extravagant luaus, beautiful islands, and a language that comes nowhere near being pronounceable to anyone but a Hawaiian. Whenever someone wants to “get away” their first thought is to sit on the beach in Hawai’i with a Mai tai in their hand and watch the sun go down. Haunani-Kay Trask is a native Hawaiian educated on the mainland because it was believed to provide a better education. She questioned the stories of her heritage she heard as a child when she began learning of her ancestors in books at school. Confused by which story was correct, she returned to Hawai’i and discovered that the books of the mainland schools had been all wrong and her heritage was correctly told through the language and teachings of her own people. With her use of pathos and connotative language, Trask does a fine job of defending her argument that the western world destroyed her vibrant Hawaiian culture.
In “Dole Street,” Juliana Spahr addresses how Hawaii’s entire history and culture have essentially been integrated into the United States. To further expand upon this, Spahr addresses the education system. Of the four main schools on Dole Street, Spahr states of the elite Punahou school, “after annexation, it became notorious as the haole school, attended mainly by the children who wanted to get their kids out of the multi-ethnic pidgin speaking public schools,” and goes on to assert that “the school casts a large shadow in the psychic imagination of the state” (39). Upon annexation, the native population was unavoidably forced into fighting to uphold the usage of a significant native characterization, the pidgin language. Not only were the natives categorized for establishing inherent identities separate to those of foreigners, but they were also forced into competing within their own culture in order to prevent losing many of the traits that made up their identities. With the gradual loss of simple, yet symbolic, features such as a native language, the significance of identifiable elements within a community starts to decline, eventually resulting in the overall destruction of a distinctive society. Evidently, as Iyunolu Osagie, an English professor, points out, “colonized peoples are poignantly the objects of imperial gaze” (210). Because they cannot maintain stable identities, native populations often manifest their colonial pasts. In addition, in a 1959 ballot, the people of Hawaii were given the ability to vote to either be integrated or to remain a colonial territory of the United States. Among those allowed to vote were settlers and military personnel, a group that outnumbered native Hawaiians. As a result, the Hawaiian Islands became the 50th state of the United States. (Kauanui 643). As this case suggests,
As a result, both films represent Natives Americans under the point of view of non-Native directors. Despite the fact that they made use of the fabricated stereotypes in their illustrations of the indigenous people, their portrayal was revolutionary in its own times. Each of the films add in their own way a new approach to the representation of indigenous people, their stories unfold partly unlike. These differences make one look at the indigenous not only as one dimensional beings but as multifaceted beings, as Dunbar say, “they are just like us.” This is finally a sense of fairness and respect by the non-native populations to the Native Indians.
The film helps to explain the ambiguity in the motives and actions of the government workers. The government workers and the missionaries both want to do good and help the Aborigines, but their actions are guided by naturally ingrained stereotypes and self interests. The whites view the natives and the Aborig...
Sahlins work provides in a depth-analysis of the Hawaiian culture and how it developed through past events. Sahlins was able to show how paying close attention to culture can be helpful when studying the past. With a detailed tale of Captain Cook’s importance in the Hawaiian culture, the cultural interactions with the British and how it led to dynamic changes in the Hawaiian culture.
In the 1930's Native Americans and women were viewed as inferior races. The films produced during the early part of the 20th century, particularly those starring John Wayne reflected these societal attitudes. The portrayal of minorities in Stagecoach and Fort Apache clearly reflect the views of society at that time. The depiction of the West is similar to that which is found in old history textbooks, em...
American Hawaii Hawaii is known for its beautiful beaches, it’s nice year-round weather, and its culture. Thousands of vacationers come to Hawaii each year to get away from the stressful city and relax. But do they know how cruel the Americans were to the natives? Do they know how we corrupted their culture and their religion? Do they know how Hawaii really became a state? Probably not. When most people think of Hawaii, they think of happy Hawaiian babes hula dancing and palm trees swaying in the warm breeze. Hawaii has still held on to many of their traditions although they were invaded by Americans. But you have to go to a museum to see their old way of life. Hawaii is now populated mostly by Americans. Native Hawaiians have adapted to our American lifestyle and much of their old traditions and beliefs are lost in history books. America dominated over the Hawaiians just as they did with the Native Americans. The Hawaiians didn’t even stand a chance against big brother. They probably feel the same way towards America just as a child does with stubborn parents. Now I will tell you about the history of Hawaii so you will see how the United States came to annex Hawaii. Hawaii was first inhabited by the Polynesians. They came in canoes from other islands around the pacific. They called the new found island "Hawaii", which means "home" in Polynesian language. Hawaii was their home until the white man came in and took advantage of these simple, happy aborigines. The corruption of this unique and fragile culture first started when Captain James Cook ran into the islands on January 18, 1778. After Cook’s discovery, many other foreigners (mostly American) visited the islands. They brought clothes, livestock, orange trees, horses weapons and souvigners. Foreigners also brought with them a handful of deadly diseases such as smallpox, measles, syphilis, tuberculosis, and whooping cough. During the time period of Cook’s arrival in 1778 to 1820, the population of Hawaii dropped from 300,000 to 135,000 due to the diseases! Another problem was the introduction of alcohol. Like the native americans, Hawaiians were not immune to alcohol. Hawaiian’s were very sensitive to alcoholism. Hawaiians religion was a very complex one with many gods. They worshiped idols and they belived in many f...
Any generic film hero is a model of their community and culture. They help to clearly define and outline the community’s values and cultural conflicts by embodying prime characteristics in their persona. The western hero, like Ethan in The Searchers, is always a figure for civilization amongst the savagery of the wild west. By portraying the roles of a civilization, the hero ...
The Polynesian peoples have a lifestyle quite different than that of any other culture, as living on an island requires a level of flexible adaptability in order to cope with such a different, sometimes difficult environment. We see the way diverse cultures build their lives around their circumstances and how they respect them in their cultural myths and stories. The Polynesian legends emphasize the physical environment that they live in. They are quite different than any other region in the world, but the beauty and individuality of the Polynesian culture is prominent as seen in their mythology.
Bataille, Gretchen. The Pretend Indians: Images of Native Americans in the Movies. Iowa State University, Ames: 1980
...e" (Trask xix). This incident beautifully illustrates and signifies tourism's impact in American society. Like most Americans, this woman uses a discourse that has been shaped by tourist advertisements and souvenirs. The woman's statement implies that Trask resembles what the tourist industry projects, as if this image created Hawaiian culture. As Trask asserts, Hawaiian culture existed long before tourism and has been exploited by tourism in the form of advertisements and items such as postcards. Along with the violence, endangered environment, and poverty, this exploitation is what the tourist industry does not want to show. However, this is the Hawai'i Haunani-Kay Trask lives in everyday. "This is Hawai'i, once the most fragile and precious of sacred places, now transformed by the American behemoth into a dying land. Only a whispering spirit remains" (Trask 19).
The representation of race in Hollywood cinema has been a widely discussed topic in film analysis since the medium’s inception. Historically, non-caucasian ethnicities have been underrepresented and/or misrepresented on the silver screen. It was normal for a white actor or actress to adorn themselves in black or yellowface to represent these races and further alienate them into the category of “the other”. This exclusion has been used time and time again as a tool for distinguishing not the race being alienated but those who are doing the alienation. In the following essay I aim to assess this phenomenon specifically in relation to representation of Asians in Hollywood cinema. To support my theory, I will put into conversation both Gina Marchetti’s essay, “White Knights in Hong Kong” and Anne Cheng’s essay, “Beauty and the Ideal Citizenship: Inventing Asian American in Rodgers and Hammerstein’s Flower Drum Song (1961)”. It was when asked to consider the question of national identity projected upon the bodies on screen as written about by Marchetti and Cheng that I came across my own thesis. Through their in depth analysis I was able to code an underlying theme in the historical representation of Asians in cinema. The theme in which Asian identity is derived through strategically situating them as “the other” in order to explain what it truly means to be an American.