國立虎尾科技大學 |

Cinematic Representation of American Indians : = A Critical Cultural Analysis of a Contemporary American Indian-Directed Film.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Cinematic Representation of American Indians :/
其他題名:	A Critical Cultural Analysis of a Contemporary American Indian-Directed Film.
作者:	Holiday-Shchedrov, Dawna.
面頁冊數:	1 online resource (154 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.
標題:	Native American studies. -
電子資源:	click for full text (PQDT)
ISBN:	9780355510720

Cinematic Representation of American Indians : = A Critical Cultural Analysis of a Contemporary American Indian-Directed Film.
Holiday-Shchedrov, Dawna.

Cinematic Representation of American Indians :A Critical Cultural Analysis of a Contemporary American Indian-Directed Film. - 1 online resource (154 pages)

Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.

Thesis (Ph.D.)--Arizona State University, 2017.

Includes bibliographical references

Using Critical Race Theory (CRT) and Tribal Critical Race Theory (TribCrit) as a theoretical framework, this dissertation analyzes a contemporary cinematic film directed by an American Indian filmmaker about American Indians and answers the question of whether the visual texts are unmasking, critiquing, confronting, and/or reinforcing reductive and stereotypical images of American Indians. Using Critical Thematic Analysis as a process, this dissertation interrogates Drunktown's Finest (2014) to understand ways a contemporary American Indian filmmaker engages in counterstorying as a sovereignist action and simultaneously investigates ways the visual narrative and imagery in the film contributes to the reinforcement of hegemonic representations---the static, constrained, White-generated images and narratives that have been sustained in the hegemonic culture for over a century. With an increase in the number of American Indian filmmakers entering into the cultural elitist territory of Hollywood, moving from the margins to the center, I believe Natives are now in a better position to apprehend and reconstruct a multidimensional and complex American Indian identity. I posit that the reshaping of these mass-mediated images can only be countered through the collective and sustained fostering of a more complex imagery of the American Indian and that authorship of the representation is crucial to changing the hegemonic imagery of American Indians.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355510720Subjects--Topical Terms:

1179522
Native American studies.
Index Terms--Genre/Form:

554714
Electronic books.

Cinematic Representation of American Indians : = A Critical Cultural Analysis of a Contemporary American Indian-Directed Film.
LDR:02692ntm a2200325K 4500 001 912723
005 20180608130836.5
006 m o u
007 cr mn||||a|a||
008 190606s2017 xx obm 000 0 eng d
020 $a 9780355510720
035 $a (MiAaPQ)AAI10680607
035 $a (MiAaPQ)asu:17494
035 $a AAI10680607
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a Holiday-Shchedrov, Dawna. $3 1185222
245 1 0 $a Cinematic Representation of American Indians : $b A Critical Cultural Analysis of a Contemporary American Indian-Directed Film.
264 0 $c 2017
300 $a 1 online resource (154 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.
500 $a Advisers: Jennifer Sandlin; Beth Blue Swadener.
502 $a Thesis (Ph.D.)--Arizona State University, 2017.
504 $a Includes bibliographical references
520 $a Using Critical Race Theory (CRT) and Tribal Critical Race Theory (TribCrit) as a theoretical framework, this dissertation analyzes a contemporary cinematic film directed by an American Indian filmmaker about American Indians and answers the question of whether the visual texts are unmasking, critiquing, confronting, and/or reinforcing reductive and stereotypical images of American Indians. Using Critical Thematic Analysis as a process, this dissertation interrogates Drunktown's Finest (2014) to understand ways a contemporary American Indian filmmaker engages in counterstorying as a sovereignist action and simultaneously investigates ways the visual narrative and imagery in the film contributes to the reinforcement of hegemonic representations---the static, constrained, White-generated images and narratives that have been sustained in the hegemonic culture for over a century. With an increase in the number of American Indian filmmakers entering into the cultural elitist territory of Hollywood, moving from the margins to the center, I believe Natives are now in a better position to apprehend and reconstruct a multidimensional and complex American Indian identity. I posit that the reshaping of these mass-mediated images can only be countered through the collective and sustained fostering of a more complex imagery of the American Indian and that authorship of the representation is crucial to changing the hegemonic imagery of American Indians.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Native American studies. $3 1179522
650 4 $a Film studies. $3 1179264
655 7 $a Electronic books. $2 local $3 554714
690 $a 0740
690 $a 0900
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Arizona State University. $b Curriculum and Instruction. $3 1182053
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10680607 $z click for full text (PQDT)