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Full Description
Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy.
Spanning national and transnational media in countries including the US, Brazil, Canada, France, Germany, and Italy, Stam orchestrates a dialogue between the western mediated gaze on the 'Indian' and the indigenous gaze itself, especially as incarnated in the burgeoning movement of "indigenous media," that is, the use of audio-visual-digital media for the social and cultural purposes of indigenous peoples themselves. Drawing on examples from cinema, literature, music, video, painting and stand-up comedy, Stam shows how indigenous artists, intellectuals and activists are responding to the multiple crises - climatological, economic, political, racial, and cultural - confronting the world. Significant attention is paid to the role of arts-based activism in supporting the struggle of indigenous artistic activism, of the Yanomami people specifically, to save the Amazon forest and the planet.
Contents
Acknowledgments
Introduction
The Terms of Debate
A 1492 Project: Conquest and Discovery
The Protocols of Anti-Indigenism
The Sacred Land
Native Arts and Aesthetics
Indigenous Media
Chapter One: From France Antartique To Shamanic Critique: The Tupinization Of Social Thought
France Antartique and Tupi Theory
Filming France Antartique
Montaigne and Tupi Theory
From France Antartique to the Carib Revolution
From the French Philosophes to the American Revolution
The French Missions, Lévi-Strauss, and the Indian
Pierre Clastres, the Anarchist Indigene, and the Wari
The Franco-Brazilian Dialogue and the Politics of The Falling Sky
Chapter Two: The Indigenous "Cunhã:" The Metamorphosis of a Gendered Trope
The Tupinization of Manhattan
The "Cunhã" as Filmmaker
The Cunhã as Myth: Paraguaçu
Caramuru: The Invention of Brazil
The Filmic and Televisual Cunhã
The Cunhã Degraded
The Cunhã as Warrior
The Cunhã as Forest Princess
The Cunhã as Hyper-Woman
The Ecological Cunhã
The "Cunhã" as Activist/Artist
Myths of Extinction: The Return of the Vanished Indigene
Chapter Three: The Transnational "Indian"
Land and the Frontier Western
Going Native
Europe's "White Indians"
The Indian Hobbyists
Transmedial Indigeneity
The Strategic Uses of Humor
Painterly Tricksterism
Indigeneity and Music
First Peoples, First Features
Indigenization of Horror
Chapter Four: Cross-National Comparabilities: The Indigenization Of Brazilian Media
Centennial Commemorations and First Contact Films
Variations on a Westward Theme
Proto-Indigenist Cinema in Brazil
Indigenous Media in Brazil
Video nas Aldeias
The Archival Turn
Corumbiara: on the Trail of Massacres
The Guaraní and Contrapuntal Narration
The Martyrdom of the Guaraní-Kaiowá
The Transmediatic Indigene of Popular Culture
Chapter Five: Triumphs and the Travails of the Yanomami
Juan Downey and "The Laughing Alligator"
Crossed Filmic Gazes
The Poetics of The Falling Sky
The Cinematic Imaginary of the Yanomami
Cinematizing Shamanism: Xapiri
The Last Forest
Conclusion: The Theoretical Indigene: Becoming Indian, And The Elsewhere Of Capitalism
Colonial Ambivalence and the Transnational Gaze
Transformational Becomings
From Republican Constitutions to the Carib Revolution
The Theoretical Indigene
Indigeneity and the Postcolonial Left
Before and After the Nation-State
Postcolonialism and the Nurture of Nature
The Fear of a Red Academe: Indigenous Decoloniality
The Power of Shamanic Critique
Capitalism vs. the Planet
The Transnational Trope of Indigenous Happiness
Coda
Index
