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Since its invention, television has been one of the biggest influences on American culture. Through this medium, multiple visions and disparate voices have attempted to stake a place in viewer consumption. Yet even as this programming supposedly reflects characteristics of the general American populace, television-generated images are manipulated and contradictory, predicated by the various economic, political, and cultural forces placed upon it. In Shaded Lives, Beretta Smith-Shomade sets out to dissect images of the African American woman in television from the 1980s. She calls their depiction "binaristic," or split. African American women, although an essential part of television programming today, are still presented as distorted and deviant. By closely examining the television texts of African-American women in comedy, music video, television news and talk shows (Oprah Winfrey is highlighted), Smith-Shomade shows how these voices are represented, what forces may be at work in influencing these images, and what alternate ways of viewing might be available. Smith-Shomade offers critical examples of where the sexist and racist legacy of this country collide with the cultural strength of Black women in visual and real-lived culture. As the nation's climate of heightened racial divisiveness continues to relegate the representation of Black women to depravity and display, her study is not only useful, it is critical.

In January 1987, the Indian state-run television began broadcasting a Hindu epic in serial form, The Ramayana, to nationwide audiences, violating a decades-old taboo on religious partisanship. What resulted was the largest political campaign in post-independence times, around the symbol of Lord Ram, led by Hindu nationalists. The complexion of Indian politics was irrevocably changed thereafter. In this book, Arvind Rajagopal analyses this extraordinary series of events. While audiences may have thought they were harking back to an epic golden age, Hindu nationalist leaders were embracing the prospects of neoliberalism and globalisation. Television was the device that hinged these movements together, symbolising the new possibilities of politics, at once more inclusive and authoritarian. Simultaneously, this study examines how the larger historical context was woven into and changed the character of Hindu nationalism.

Silver Horn's art documents the changes in the lives of the Kiowa Indians, as well as changes in Kiowa art itself. The art presented here, shows the bridge he created between ancient Kiowa aesthetics and modern forms of expression that had an impact on younger Native American artists.

In 1558, confronted by the differences in the ways Native peoples and Europeans perceived and structured their respective societies, Renais- sance travel writer Andre Thevet asserted that the indigenous popula- tions of North America, unlike Europeans, had neither religion, civility, nor books, and lived like 'beasts without reason' (Thevet [1558] 1878, 134-6). In 1603, writing of the Native groups he encountered, Samuel de Champlain remarked that since each person 'prayed in his heart just as he liked,' they in effect had 'no law among them and do not know what it is to worship God and pray to Him, living as they do like brute beasts' (Champlain 1922-36, 6: 52). In contrast, Native groups, although not always conciliatory, nonetheless sought out ways to incorporate Europeans into existing political and ideological structures, inviting Champlain, Jesuit missionaries, and others to come to live with them and to participate in their way of life (Dickason 1992, 103, 107).A funda- mental element of Rotinonhsyonni1 diplomacy was the political neces- sity to achieve integrations so that, at least ideologically, Europeans and Iroquoians could perceive themselves to be brothers, one and the same people (Jesuit Relations [1610-1791] 1896-1901 [hereafter JR] 27: 253- 61). When Jacques Cartier encountered the Montagnais-Naskapi in 1534, he remarked on their ease of manners in their coming 'freely on board our vessels as if they had been Frenchmen' (Cartier 1924, 76).

This book seeks to clarify postcolonial Indigenous thought beginning at the new millennium. It represents the voices of the first generation of global Indigenous scholars and converges those voices, their analyses, and their dreams of a decolonized world.

What is termed globalization is the culmination of a process that began with the constitution of America and colonial/modern Eurocentered capitalism as a new global power. One of the fundamental axes of this model of power is the social classification of the world’s population around the idea of race, a mental construction that expresses the basic experience of colonial domination and pervades the more important dimensions of global power, including its specific rationality: Eurocentrism. The racial axis has a colonial origin and character, but it has proven to be more durable and stable than the colonialism in whose matrix it was established. Therefore, the model of power that is globally hegemonic today presupposes an element of coloniality. In what follows, my primary aim is to open up some of the theoretically necessary questions about the implications of coloniality of power regarding the history of Latin America.

Struggles for Representation examines over 300 non-fiction films by more than 150 African American film/videomakers and includes an extensive filmography, bibliography, and excerpts from interviews with film/videomakers. In eleven original essays, contributors explore the extraordinary scope of these aesthetic and social documents and chart a previously undiscovered territory: documentaries that examine the aesthetic, economic, historical, political, and social forces that shape the lives of black Americans, as seen from their perspectives.

Rentable produit d'exportation diffusé dans 128 pays, le feuilleton télévisé brésilien fait partie du quotidien de la population depuis une trentaine d'années. Si une grande part de son succès repose sur l'exploitation de « la culture des sentiments », dans sa version la plus moderne, il sait aussi plonger au cœur de la réalité comme l'a démontré entre autres avec brio « Le roi du troupeau » (1986) qui mettait en scène le conflit entre les sans-terre et les grands propriétaires terriens.

Tourist art production is a global phenomenon and is increasingly recognized as an important and authentic expression of indigenous visual traditions. These thoughtful, engaging essays provide a comparative perspective on the history, character, and impact of tourist art in colonized societies in three areas of the world: Africa, Oceania, and North America. Ranging broadly historically and geographically, Unpacking Culture is the first collection to bring together substantial case studies on this topic from around the world.

The influence of the "trickster" in contemporary Canadian native art is entwined with cultural sensibilities and expressed through ironic humour. Exploring the trickster's presence, this text allows the artists to offer their own ideas on the creative process and the nature of native humour.

Sioui has produced a work not only of metahistory but of moral reflections. He contrasts Euroamerican ethnocentrism and feelings of racial superiority with the Amerindian belief in the "Great Circle of Life" and shows that human beings must establish intellectual and emotional connections with the entire living world if they hope to achieve abundance, quality, and peace for all. Sioui is proud to be a Huron and an Amerindian and is fully aware of the injustices that the aboriginal people of North America have suffered - and continue to suffer - at the hands of Euroamericans. He is convinced that the greatness of Amerindians does not lie only in the past but that Native peoples will play an even more important role in the future by providing ideas essential to creating aviable way of life for North America and the world. While this is a polemical work, Sioui never descends to recrimination or vituperative condemnation, even when that might seem justified. Instead, he has given us a polemic that is written at the level of philosophy.

What happens when a Native or indigenous person turns a video camera on his or her own culture? Are the resulting images different from what a Westernized filmmaker would create, and, if so, in what ways? This book discusses the core concepts of aesthetics and indigenous culture and examines the work of American Indian documentary filmmakers

Catalogue d'une exposition tenue à l'origine au "First People's Hall of the Canadian Museum of Civilization", prise en charge par Gerald McMaster. Publié avec le "Canadian Museum of Civilization

Indians in northeastern North America produced a variety of art objects for sale to travelers and tourists during the 18th and 19th centuries. This art is of high quality and great aesthetic interest, but has been largely ignored by scholars. This study combines fieldwork, art historical analysis

Naficy explores the seemingly contradictory way in which immigrant media and cultural productions serve as the source both of resistance and opposition to the domination by host and home country's social values while simultaneously serving as vehicles for personal and cultural transformation and assimilation of those values.

This volume makes available in English most of the essays written to accompany the Canadian Museum of Civilization's exhibition In the shadow of the sun. Not included from the original German publication are the exhibition catalogue section and the essays by Gisela Hoffmann, Bernadette Driscoll and Elizabeth McLuhan. However, Viviane Gray's article appears in this document for the first time. Complemented by images of contemporary Indian and Inuit art, the book provides an overview of the evolution of contemporary Canadian Native art. Regional styles as well as the styles of individual artists are discussed, and the various subjects, themes and techniques reflected in the works of art are examined

In Partial Recall, twelve Native American artists and writers look deep into the images that have shaped our ideas of "Indianness," and explore the complex relationship of photography to identity. For this volume, edited and introduced by Lucy Lippard, each contributor has chosen one or two photographs as the point of departure for their original poetic, historical, political, or autobiographical essays. With an additional portfolio of more than sixty photographs drawn from around the country, Partial Recall is a unique and valuable anthology.