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This remarkable volume, many years in the making, records and scrutinizes definitions of Northwest Coast Native art and its boundaries. A work of critical historiography, it makes accessible for the first time in one place a broad selection of more than 250 years of writing on Northwest Coast "art." Organized thematically, its excerpted texts are from both published and unpublished sources, some not previously available in English. They cover such complex topics as the clash between oral and written knowledge, transcultural entanglement, the influence of surrealist thinking, and the long history of the deployment of Northwest Coast Native art for nationalist purposes. The selections are preceded by thought-provoking introductions that give historical context to the diverse intellectual traditions that have influenced, stimulated, and opposed each othe

This research explores the ways different people experience the racial content of video games. Building on DeVane and Squire, this research speaks to content analyses literature that shows games as modern minstrelsies. Using Bonilla-Silva’s definition of Racial Ideology in conjunction with Winddance-Twine’s concept of Racial Literacy, I examined racial ideology and its role as an interpretative framework. I also used Bourdieu's notion of cultural capital to account for video game cultural knowledge. Data were collected through personal interviews where participants played the video game Grand Theft Auto: The Ballad of Gay Tony for 30-50 minutes. A sample of 31 participants covering variation in gender, gaming experience, and race answered questions assessing their racial ideology, then played the game introduction, and finally, answered questions assessing interpretations of game content. Racially aware people with little gaming experience echoed the content analysis minstrelsy findings while colorblind racist non-gamers believed the content accurately represented the world. However, deeper familiarity with gaming and other mass media opened up a new interstitial space for challenging the racial status quo. Racially aware gamers saw the franchises as lampooning the shallow stereotypes in mainstream society. More importantly, with a more sophisticated media context, many colorblind racist gamers also saw racial representations as intentionally offensive. Gamers herein create inventive, non-threatening, but meaningful ways to address racialization across a spectrum of racial literacies. As a result, content analyses need a richer understanding of the experiences of video games for consumers.

Television’s synergy with the Web initially seemed inconceivable to network executives. With the rise of Internet use, newspaper and magazine articles announced the impending death of television. While that was clearly hyperbole, network executives, though often anonymously, expressed their fears that Web content would siphon off viewership and thus advertising dollars generated by television programming. Fears may have been quelled with the evidence of the success of television shows first made available streaming on network websites and then for paid download through digital servers such as iTunes.

Although discourses regarding 1980s representations of Blackness on television heavily focus on The Cosby Show, its NBC spin-off series, A Different World, depicting student life at a historically Black college, was equally groundbreaking and deserving of critical attention. Looking to transfer the appeal and audience share of The Cosby Show to A Different World, the spin-off show’s first season centered on the life of The Cosby Show’s star Denise Huxtable (Lisa Bonet) at Hillman College. A Different World’s story provides an illuminating case study of the role and power of television producers, highlighting their influence over a show’s narrative and

At best, our knowledge about the lives and experiences of Black gay men is limited to a series of stereotypes, snap judgments, and ridicule. In terms of television media product, this aforementioned knowledge has been packaged mostly within the framework of comedy: a red-leather-clad Eddie Murphy talking about the most effective ways to shield his ass from the gay male gaze in the 1983 HBO stand-up performance Delirious ; Damon Wayans and David Alan Grier’s effeminate film critics Blaine Edwards and Antoine Merriweather on the 1990s television variety show In Living Color ; fashionista panel members Miss J and Andre Leon Talley

As bell hooks points out in “Aesthetic Inheritances: History Worked by Hand,” writing an inclusive art history is no easy task. Until very recently, Aboriginal women have been written out of Canadian art history, or rather art history has been written around us. How do we write ourselves in? It falls far beyond simple insertion; the erasures are far too deep. Insertion presumes a simple forgetfulness, an oversight, a neglecting of the obvious. Insertion assumes a presence. It implies a shared mode of history, a common belonging to a collective archive, and an agreed-upon understanding of what it means to be an artist. Beyond the important considerations of race, gender, culture, and social class, our distinct legal status in Canada must be acknowledged. This was particularly true for women artists working between 1880 and 1970. For much of the time period under consideration, First Nations communities lived under a profoundly restrictive regime of colonial power. Relationships between First Nations people and the Canadian state have been defined by the Indian Act, a piece of legislation enacted in 1876 and surviving, through many amendments and revisions, until the present time.

Picture this: a comedy about an overweight Black woman who lives with and takes care of a white family. Joking all the way, she cooks, cleans, helps the father of the family, and comforts the children. Then at one point, we see the father holding his gun and pointing toward the door. The Black woman enters and jumps up and down, screaming, “Massa! Massa! Massa! Please don’t shoot!” It is easy to imagine these scenes in a 1930s film about the antebellum South. But they are actually from the first episode of a 1980s sitcom.

On November 4, 2008, CNN anchor Anderson Cooper appeared on The Ellen DeGeneres Show via satellite. One of the more memorable moments of the interview came when Cooper expressed shock that DeGeneres was unfamiliar with the hit Bravo television show The Real Housewives of Atlanta. “You mean you don’t know about NeNe?” he demanded incredulously, referring to cast member NeNe Leakes—the most outspoken and self-proclaimed “realest” of the Housewives. Cooper’s segment, along with his admission that Leakes was his favorite of the cast, brought even more attention to the already widely debated show, the first of Bravo’s Housewives series

Résumé livre : Les échanges entre les Européens, leurs descendants en Amérique et les Autochtones depuis les premiers contacts jusqu’à nos jours constituent un thème de première importance dans les travaux menés depuis une quarantaine d’années en histoire des Amérindiens et en histoire coloniale. Ils sont cruciaux pour comprendre la situation contemporaine des nations amérindiennes, les relations entretenues avec les gouvernements, la question territoriale et la définition de l’identité. Pour rendre compte de la diversité des échanges entre Autochtones, Européens et Canadiens, et de leur importance dans l’histoire du Canada, les textes présentés dans cet ouvrage les abordent à partir des concepts de représentation, de métissage et de pouvoir. Les représentations qu’Amérindiens, Européens et Canadiens se sont forgées les uns des autres ont joué un rôle central dans leurs relations ; par exemple, la manière dont les Européens ont perçu, décrit ou imaginé les Autochtones a eu un poids déterminant sur les sociétés européennes et sur les politiques coloniales, influençant, en retour, les relations avec les Autochtones. Les images de l’Autre, en perpétuelle transformation, ont également eu une incidence sur la façon dont les Autochtones se sont auto-représentés, sur la façon dont ils ont adopté, transformé ces images pour se les approprier et, enfin, sur la façon dont ils les ont rejetées pour définir leur identité. Les représentations que les Autochtones ont forgées des Européens, moins bien connues malheureusement, ont également influencé l’évolution des rapports avec les colonisateurs. Utilisant différents supports : textes, images, récits oraux, sites internet et culture matérielle, les représentations résultent de processus complexes. Leur interprétation induit la question de leur élaboration et de leur transmission, celle de l’influence des idéologies et des catégories mentales de l’époque, mais aussi celle de la fonction et du pouvoir de ces représentations.

In the first episode of Black Journal , before the opening credits, comedian Godfrey Cambridge appears dressed in overalls and a painter’s cap with a paint roller in hand and methodically paints the television frame. To the viewer, it appears that his or her television is being painted black from the inside—a potent visual symbol from the first national Black public affairs program. Initially, though, the symbol emphasizes a visual challenge to the absence of Black faces on television—a show that “looks” Black, because of the visibility of its Black hosts and reporters, but where whites still have significant

In this chapter, I would like to consider how interactive reality television contributes to the negotiation between national particulars and transnational media flows. Specifically, I want to look at the successful franchise So You Think You Can Dance , a dynamic global media flashpoint and a remarkably adaptable format that serves as a site of pleasurable and contradictory engagement with the sense of national culture and community that television manufactures. But what makes the show of particular interest to me is that it allows audiences, in an increasing number of television markets around the world, to collectively determine their ideal national performers through a competition that requires mastery of a virtual international smorgasbord of popular dance forms and styles, the vast majority of which originate elsewhere, or from within the national, racial, and ethnic cultures of others. Second, in choosing to examine dance shows, I join with a growing number of scholars who have, over the past 15 years, argued for increased attention to dance as a primary site of knowledge production concerning bodies, identities, and representation.

Catalogue d'exposition avec des textes de Loft, Igloliorte et Croft. Galerie d'art d'Ottawa.

Five years after Hurricane Katrina devastated New Orleans, Louisiana, life remained not normal still for many residents of the city. And while mainstream news organizations remembered the fifth anniversary of the hurricane with extensive coverage, it was the work of filmmaker Spike Lee and television program creators David Simon and Eric Overmyer that perhaps created the greatest buzz about the fifth anniversary of Katrina in 2010. Spike Lee’s first documentary, When the Levees Broke , was released in 2006. It documented what happened in New Orleans through the voices of local residents, politicians, and experts during and immediately after the storm.

Why is it important that a Black woman created, wrote for, and co-produced¹ two highly-regarded television situation comedies that engaged a variety of Black women’s health issues while at the same time these issues were being reduced, simplified, or altogether ignored in mainstream American hip hop? Mara Brock Akil tacitly responded to this question when asked why four episodes of the third season of Girlfriends (2000–2008), the situation comedy she created and co-produced for UPN, addressed the HIV/AIDS crisis among Black women in America. “I have things I want to say,” explained Brock Akil, “about bridging television’s gap between

George Littlechild: The Spirit Giggles Within is a stunning retrospective of a career that has spanned nearly four decades. Featuring more than 150 of the Plains Cree artist's mixed-media works, this sumptuous collection showcases the bold swaths of colour and subtle textures of Littlechild's work. Littlechild has never shied away from political or social themes. His paintings blaze with strong emotions ranging from anger to compassion, humour to spiritualism. Fully embracing his Plains Cree heritage, he combines traditional Cree elements like horses and transformative or iconic creatures with his own family and personal symbols in a unique approach. George Littlechild: The Spirit Giggles Within shows the evolution of an artist from his earliest works to the present day, including hints of future directions and themes. An insightful foreword by artist and curator Ryan Rice, a Mohawk from the Kahnawake First Nation in Quebec, and Littlechild's reflections on each piece build a broad understanding of Littlechild's work, his life and his views on the role of art within all cultures

The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression. Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academic

This article explores issues of racial essentialism and ethnicity in the massively multiplayer online role-playing game World of Warcraft (WoW). The fantasy world of Azeroth mirrors elements of real-world race-based societies where culture is thought to be immutably linked to race. The notion of biological essentialism is reinforced throughout the gamescape. Race plays a primary role in the social and political organization of Azeroth. Among other things, race determines alliances, language, intellect, temperament, occupation, strength, and technological aptitude. The cultural representation of the respective racial groups in WoW draws upon stereotypical imagery from real-world ethnic groups (e.g., American Indian, Irish/Scottish, Asian, African, etc.).

Catalogue d'exposition. Du 14 janvier au 25 février 2012 à Art Mûr (Montréal. Titre : Baliser le territoire : Manifestation d’art contemporain autochtone / A Stake in the Ground: Contemporary Native Art Manifestation. Commissaire : Nadia Myre Sonny Assu, Jason Baerg, Carl Beam, Rebecca Belmore, Kevin Lee Burton, Hannah Claus, Bonnie Devine, Raymond Dupuis, Edgar Heap of Birds, Vanessa Dion Fletcher, Nicholas Galanin, Greg Hill, Robert Houle, Maria Hupfield, Rita Letendre, Glenna Matoush, Alan Michelson, Nadia Myre, Marianne Nicolson, Michael Patten, Arthur Renwick, Sonia Robertson, Greg Staats, Tania Willard, Will Wils