By C Richard King
This ebook explores media assurance of local american citizens: in print and tv journalism, in movies and tv, in local American media shops, and on the net. It additionally examines using local american citizens as mascots.
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Indeed, how films have been produced and consumed has much to do with the persistence of anti-Indian stories and stereotypes. Importantly, while a few American Indians directed movies during the silent era, they played almost no role in the production of mainstream cinema until the making of Powwow Highway (which was based on a novel by Huron David Seals) in the 1980s and Smoke Signals in the 1990s (written by Sherman Alexie and directed by Chris Eyre). As a consequence, virtually every movie and television program made over the past century have been made by Euro-American writers, directors, and producers.
Native peoples are not artifacts living in a museum that can be trotted out to entertain. 11 Importantly, NAJA condemns the lack of coverage and connects it with a broader history and a more general attitude. The lack of coverage of the Outkast performance and the subsequent response across Native America reminds us that to the mainstream media American Indians, in and of themselves, are unimportant, unworthy of attention and engagement. Moreover, the failure to adequately report events and opinions in this context suggests that Native Americans are not seen as people, and that their concerns are not legitimate.
Moreover, the resurgence of Native America, including a cultural renaissance in the arts, literature, and political resistance, embodied famously by the American Indian Movement and the occupation of Alcatraz, challenged public perceptions and Hollywood imagery that had for so long painted Indians as simple, bellicose savages trapped in the past or doomed to vanish. As a consequence, the major films released in the late 1960s and early 1970s presented novel stories, ones that reworked the cinematic image of Indians.