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In the last decade or so, cinema has revealed itself to be an ideal medium for the transfer and/or remediation of the spoken word as well as stories coming from oral tradition and Indigenous culture. Indeed, cinema is a place of expression which favours cyclical creativity and contributes to the decolonization of stereotyped images propagated by external voices that do not understand the subtleties of languages (real and symbolic) that are anchored in indigenous peoples’ cultural memory. By exploring indigenous cinema as practised by women of diverse nations, this piece demonstrates how cinema can induce the compression and dilation of time, to bring to the audience the fluidity of a story that has been reconfigured according to a new time and carried by spoken words that have chosen to either emancipate themselves from the image or to materialize themselves in it. Furthermore, this article illustrates how a new generation of Indigenous women use cinema to retrace and/or rewrite their personal narrative with the help of autobiographical or collective stories that travel back in time to fill in the blanks left by a fragile memory and to express their will to make peace with a difficult colonial past. Finally, the writings of Lee Maracle (I Am Woman, 1988) and Natasha Kanapé Fontaine (Manifeste Assi, 2014) are being brought forth to show how films such as Suckerfish (Lisa Jackson, 2004) Bithos (Elle-Máijá Tailfeathers, 2015) and Four Faces of the Moon (Amanda Strong, 2016) contribute to the individual and community healing of Indigenous peoples of Canada, through an aesthetic of reconciliation. The exploration of these works, therefore allows us to shed light on and better understand the roles/internal mechanisms of visual autobiographies in the larger context of reconciliation with individual and collective stories/memories.
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Le lieu de la rupture, ici, se voit déplacé : s'il faut rompre, en cinéma autochtone, ce n'est pas avec ses propres prédécesseurs, comme l'ont fait Jean-Luc Godard, François Truffaut et Agnes Varda. Des cinéastes tels Barnaby, Freeland et Grace peuvent ainsi s'appuyer sur le travail d'ouvreurs de sentiers tels le réalisateur māori Lee Tamahori (Once Were Warriors, en traduction française, Nous étions guerriers, 1994), le réalisateur cheyenne et arapaho Chris Eyre (Smoke Signals, 1998) , ainsi que des précurseurs incontournables tels Barclay, en Aotearoa, Nouvelle-Zélande, et la documentariste abénaquise Alanis Obomsawin, figure de proue du cinéma autochtone au Canada. Dans un récent document interne sur le cinéma autochtone en son sein, l'Office national du film (ONF), cet important producteur et diffuseur public d'œuvres audiovisuelles au Canada, explique que pour « comprendre la situation actuelle des cinéastes autochtones a l'ONF », il faut l'envisager a partir des « anciennes politiques gouvernementales visant explicitement a éliminer toute culture autochtone de la société canadienne ». Elle est également sous-tendue par le désir de proposer un storytelling, un art de raconter, issu des peuples autochtones, déterminé par ces derniers tant au niveau de la forme et du contenu cinématographique que dans le processus de production, de réalisation et de diffusion de ces œuvres.
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Knopf samples a variety of Native American filmmaking genres, including documentary, short films, and full-length narrative films, providing a detailed synopsis and content analysis of several films. Since its genesis in the early 19005, film has been an effective colonizing tool, impacting Indigenous peoples around the globe.
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In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television.
Explorer
1. Approches
2. Auteur.rice.s et créateur.rice.s
4. Corpus analysé
- Amérique du Nord (1)
4. Lieu de production du savoir
- Amérique du Nord (3)