Suchergebnisse

Americans are still fascinated by the romantic notion of the "noble savage," yet know little about the real Native peoples of North America. This two-volume work seeks to remedy that by examining stereotypes and celebrating the true cultures of American Indians today

List of figures --Acknowledgments --Introduction: constructing the Indian, 1830s-1990s /S. Elizabeth Bird --The First but not the last of the "vanishing Indians": Edwin Forrest and mythic re-creations of the native population /Sally L. Jones --The Narratives of Sitting Bull's surrender: Bailey, Dix & Mead's photographic western /Frank Goodyear --Reduced to images: American Indians in nineteenth-century advertising /Jeffrey Steele --"Hudson's Bay Company Indians": images of native pople and the Red River pageant, 1920 /Peter Geller --Science and spectacle: Native American representation in early cinema /Alison Griffiths --"There is madness in the air": the 1926 Haskell homecoming and popular representations of sports in federal Indian boarding schools /John Bloom --Indigenous versus colonial discourse: alcohol and American Indian identity /Bonnie Duran --"My grandmother was a Cherokee princess": representations of Indians in Southern history /Joel W. Martin --Florida Seminoles and the marketing of the last frontier /Jay Mechling --Segregated stories: the colonial contours of the Little Bighorn Battlefield National Monument /C. Richard King --A War of words: how news frames define legitimacy in a native conflict /Cynthia-Lou Coleman --Going Indian: discovery, adoption, and renaming toward a "true American" from Deerslayer to Dances with wolves /Robert Baird --"Her beautiful savage": the current sexual image of the Native American male /Peter van Lent --Cultural heritage in Northern exposure /Annette M. Taylor.

Historical films are a widely discussed genre of visual narration as it poses the challenge of a reliable balance between history, myth and truth. Indian history and independence have been one of those themes that have been adapted into filmic narration, not only as a national oration, but from an international lens. Unlike any other historical moment, Indian Independence is the most celebrated and recurring themes of historical movies and still continuous to be a vibrant subject for Indian film makers. Dealing with the narration of a nation, often these films are looked at with a skeptical attitude, mostly because of its colonizer's view of the colonized. This article addresses Bhabha's ( 1994 ) interstitial perspective and mimicry of ambivalence positing that these films neither dominate nor propagate certain colonial ideologies, nor does it make the colonizer as a virtuous subject, but rather create an ambivalent identity, which is neither colonizer nor colonized, but a hybrid of it. Apart from some English productions on Indian colonial rule and independence, some Indian films are also taken as a case study to elucidate the concept of hybridity in cultural meaning. When the 'object' of history or the colonized reacts with their perception, it creates an ambivalence that is far different from the colonizer's perception.

"Overwhelmingly, Black teenage girls are negatively represented in national and global popular discourses, either as being "at risk" for teenage pregnancy, obesity, or sexually transmitted diseases, or as helpless victims of inner city poverty and violence. Such popular representations are pervasive and often portray Black adolescents' consumer and leisure culture as corruptive, uncivilized, and pathological. In She's Mad Real, Oneka LaBennett draws on over a decade of researching teenage West Indian girls in the Flatbush and Crown Heights sections of Brooklyn to argue that Black youth are in fact strategic consumers of popular culture and through this consumption they assert far more agency in defining race, ethnicity, and gender than academic and popular discourses tend to acknowledge. Importantly, LaBennett also studies West Indian girls' consumer and leisure culture within public spaces in order to analyze how teens like China are marginalized and policed as they attempt to carve out places for themselves within New York's contested terrains"--Provided by publisher

"Overwhelmingly, Black teenage girls are negatively represented in national and global popular discourses, either as being "at risk" for teenage pregnancy, obesity, or sexually transmitted diseases, or as helpless victims of inner city poverty and violence. Such popular representations are pervasive and often portray Black adolescents' consumer and leisure culture as corruptive, uncivilized, and pathological. In She's Mad Real, Oneka LaBennett draws on over a decade of researching teenage West Indian girls in the Flatbush and Crown Heights sections of Brooklyn to argue that Black youth are in fact strategic consumers of popular culture and through this consumption they assert far more agency in defining race, ethnicity, and gender than academic and popular discourses tend to acknowledge. Importantly, LaBennett also studies West Indian girls' consumer and leisure culture within public spaces in order to analyze how teens like China are marginalized and policed as they attempt to carve out places for themselves within New York's contested terrains"--