[1] Native Americans were part of this country long before our founding forefathers. They were the people that Christopher Columbus found inhabiting this land. There is even evidence to show that they have been on the American continents for thousands and even tens of thousands of years. Yet, somehow the European powers dominated these people, forcing them from their land to make it “ours.” In the early part of the twentieth century, a new industry began to develop; we call it the film industry. Along with the industry came movies that were made and are still made for the amusement of a mass audience. Some flaws did come with this industry, and among them was the depiction of Native Americans. “Anonymity is a feature of the Indian portrayed in film…many do not have names or speaking parts” (Bataille and Hicks 10). Native Americans often speak with a broken dialect or “baby” English. They are not able to fully understand or express complete thoughts in the English language. This makes them appear to the audience as a lesser character. The second role of Native Americans in film is that of a sidekick or crony of some white hero, like Tonto in The Lone Ranger (1938). In these films “The Native American The Native American was placed into one of the following four roles: the first isthe comedic Indian, the jester of the frontier court. This Indian spoke in simple is clearly secondary in importance” and was never the hero (Crowdus 297). The two most significant roles of the Native American are the bloodthirsty savages and their counterparts the “noble” savages.
In chapter six of her book Making the White Man 's Indian: Native Americans and Hollywood Movies, Ange Aliess explores the topic of how Western have begun to change recently. The changes that she references in the film Dances With Wolves are also present in the film Winter in the Blood as well as in the 1491s shorts, even though the 1491s are a comedy group and not a Western genre. Aleiss describes the ways in which Native Americans reacted to Native portrayals in the film Dances With Wolves, and they tended to see the film’s better sides in contrast with critics. In Winter in the Blood, there are many stereotypes that are explored in ways that make the characters seem more real and less stereotypical as the backstories are revealed, despite
[1] The silent film, With Daniel Boone Thru the Wilderness, was produced in 1926: a time of prosperity, an era without the skepticism of the modern American mind. People were not yet questioning the stories and histories they had been taught as children. The entertaining story told in this Robert North Bradbury film is loosely based on the life of an American hero. However, the presence of several insidiously inaccurate historical representations demonstrates how an entertaining film might not be as innocent as it initially seems. This film fails to question certain key issues concerning the Daniel Boone legend. In fact, it does quite the opposite. The creators of this film wholeheartedly bought into the many warped myths and distorted “facts” surrounding the story of Daniel Boone. Amazingly, the ethnocentric (read racist and colonial) ideals found in 19th century whites apparently still existed in 1926, and, to a certain extent, still do today. This essay will explore the factors that contributed to the twisted representations found in With Daniel Boone Thru the Wilderness. Hopefully, the work of this essay and many others like it will help the next generation of Americans (and filmmakers) to avoid the same injustices and societal pitfalls that have plagued mankind for ages.
Since the dawn of cinema, the mythos embodied by westerns have maintained a hold over many a captivated audience, containing magnificent vistas, glorified violence, and the age old struggle of man vs. wild. As do many westerns, John Ford's 1956 masterpiece The Searchers, opens with a lone rider set against the backdrop of a vast, unknown wilderness. Settling into your seat, you might expect more of the tried and true formula that defines a western in this era, a well defined hero to be aspired to, acting as the last bastion of culture against the encroaching chaos that is the wild, untamed frontier. While The Searchers conforms to the conventional western theorem, the film ponders issues of race, integration, and interracial relationships as seen through the eyes of a man living beyond the era he knows. Breaking ground for future films to investigate and criticize current social issues through the medium of film.
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
In 1962 MGM (Metro-Goldwyn Mayer Films) released “How The West Was Won”, projected in a movie theater with three panels that needed to be projected by three different movie projectors at the same time. In a time where the classic western genre was about to be extinct. This ambitious project filmed by three different directors ended in a huge success, and it made investors believe that the movie industry could compete with the TV.
Encarnizamiento terapéutico (también obstinación o ensañamiento terapéuticos): es la aplicación de tratamientos inútiles; o, si son útiles, desproporcionadamente molestos o caros para el resultado que se espera de ellos.
One of such films to form realities of who the African American people are from a white’s perspective is the film that debuted in 1915 called Birth of a Nation. It was a widely popular film that promoted a negative stereotype of African Americans (Fang, 1997). It helped cement many white Americans long held beliefs of black Americans during the 1930’s, perpetuating their ideologies of white culture to the protests of African Americans. Beyond ideology, film has influenced audience behaviors, furniture, speech styles, and fashion, perfectly illustrating films permeability into American culture (Jowett & O’Donnell, 2006). Film also taps into the American psychological attitudes that can be an very effective tool in for shaping cultural and social information (Jowett & O’Donnell, 2006). Film, along with television, are also seen as vehicles for propaganda, but can be achieved in a more subtle fashion to effectively reach the audience and for the audience members to take
Unique to the United States, the Old West wields a powerful influence on the American imagination that can still be seen in numerous aspects of the nation’s culture, such as clothing lines and movies. Unfortunately, as is the case with most other periods, historic acknowledgement of African Americans’ contributions to the West is still not complete. Only recently, within the last few decades, have American scholars and the film industry earnestly begun to correct this period in regards to African Americans. In 2005, the Idaho Black History Museum (IBHM) in Boise assembled a display that incorporated the black cowboy into it.
Within Lakota Woman, by Mary Crow Dog, a Lakota woman speaks of her story about growing up in the 60s and 70s and shares the details of the difficulties she and many other Native Americans had to face throughout this time period. Although Native Americans encountered numerous challenges throughout the mid twentieth century, they were not the only ethnic group which was discriminated against; African Americans and other minority groups also had to endure similar calamities. In order to try to gain equality and eliminate the discrimination they faced, such groups differed with their inclusion or exclusion of violence.
The bald eagle was finally adopted as the emblem of the United States in 1787 because "its long life, great strength, and majestic looks, and also because it was then believed to exist only on this continent." The bald eagle has survived for many years. It was almost lost at one point, and finally now is on its way back and the numbers are rising thanks to many efforts by various foundations. The Bald Eagle is more than a just a bird like every other species it too has a special part in keeping the food chain going.
“5 Common Native American Stereotypes in Film and Television” written by Nadra Kareem Nittle and published ThoughtCo. The article points out that although, we have made great strides in the portrayal of white men and women, our portrayal of the Native American has had little change. Native American women, generally portrayed as “Beautiful Maidens” or “easy squaws” ripe for the picking by non- Native men. This depiction leaves them open to unwanted and often unwarranted sexual advances as well as discrimination. In general, our depiction of Native Men has become the standard “Magical Medicine Men” or a “Blood Thirsty Warrior”. Hollywood’s portrayal of the Native Man is still that of a “tomahawk wielding warrior” only interested in war. While
... between 11 to 24 repeats of the CAG allele; many people may argue that hiring Wu is an extremely risky decision since Wu has 72 repeats of the CAG allele when any amount above 42 appears to be correlated with an earlier manifestation of symptoms. However, nothing is certain and hiring or not hiring Wu is enough of a risk for the IPC already. The best path to take is to hire Wu with a contract that terminates Wu’s employment as soon as he begins to show symptoms and have an understudy ready to replace Wu after his leave. If the IPC decides not to hire Nathaniel Wu, they must solely base the decision from the qualifications of both candidates, otherwise the decision will have violated bioethics. Regardless of the decision the IPC makes, the company will inevitably face financial struggles; it is a matter of acting upon the stalemate that it has trapped itself within.