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De Alcalá COMISIÓN DE ESTUDIOS OFICIALES DE POSGRADO Y DOCTORADO � Universidad /::.. f .. :::::. de Alcalá COMISIÓN DE ESTUDIOS OFICIALES DE POSGRADO Y DOCTORADO ACTA DE EVALUACIÓN DE LA TESIS DOCTORAL Año académico 201Ci/W DOCTORANDO: SERRANO MOYA, MARIA ELENA D.N.1./PASAPORTE: ****0558D PROGRAMA DE DOCTORADO: D402 ESTUDIOS NORTEAMERICANOS DPTO. COORDINADOR DEL PROGRAMA: INSTITUTO FRANKLIN TITULACIÓN DE DOCTOR EN: DOCTOR/A POR LA UNIVERSIDAD DE ALCALÁ En el día de hoy 12/09/19, reunido el tribunal de evaluación nombrado por la Comisión de Estudios Oficiales de Posgrado y Doctorado de la Universidad y constituido por los miembros que suscriben la presente Acta, el aspirante defendió su Tesis Doctoral, elaborada bajo la dirección de JULIO CAÑERO SERRANO// DAVID RÍO RAIGADAS. Sobre el siguiente tema: VIEWS OF NATIVEAMERICANS IN CONTEMPORARY U.S. AMERICAN CINEMA Finalizada la defensa y discusión de la tesis, el tribunal acordó otorgar la CALIFICACIÓN GLOBAL 1 de (no apto, ) aprobado, notable y sobresaliente : _=-s·--'o---'g""'--/\.-E._5_---'-/l i..,-/ _&_v_J_�..::;_________ ______ Alca la, de Henares, .............,t-z. de ........J&Pr.........../015"{(,.......... de ..........2'Dl7.. .J ,,:: EL SECRETARIO u EL PRESIDENTE .J ,,:: UJ Q Q ,,:: Q V) " Fdo.: AITOR UJ Fdo.: FRANCISCO MANUEL SÁEZ DE ADANA HERRERO Fdo.:MARGARITA ESTÉVEZ SAÁ > IBARROLLA ARMENDARIZ z ;::, Con fe0hag.E_de__ ��{� e__ � j:l1a Comisión Delegada de la Comisión de Estudios Oficiales de Posgrado, a la vista de los votos emitidos de manera anónima por el tribunal que ha juzgado la tesis, resuelve: FIRMA DEL ALUMNO, O Conceder la Mención de "Cum Laude" � No conceder la Mención de "Cum Laude" La Secretariade la Comisión Delegada Fdo.: SERRANO MOYA, MARIA ELENA 1 La calificación podrá ser "no apto" "aprobado" "notable" y "sobresaliente". El tribunal podrá otorgar la mención de "cum laude" si la calificación global es de sobresaliente y se emite en tal sentido el voto secreto positivo por unanimidad. ESCUELA DE DOCTORADO Servicio de Estudios Oficiales de Posgrado DILIGENCIA DE DEPÓSITO DE TESIS. Comprobado que el expediente académico de D./Dª ____________________________________________ reúne los requisitos exigidos para la presentación de la Tesis, de acuerdo a la normativa vigente, y habiendo presentado la misma en formato: soporte electrónico impreso en papel, para el depósito de la misma, en el Servicio de Estudios Oficiales de Posgrado, con el nº de páginas: __________ se procede, con fecha de hoy a registrar el depósito de la tesis. Alcalá de Henares a _____ de ___________________ de 20_____ Fdo. El Funcionario Programa de Doctorado en Estudios Norteamericanos VIEWS OF NATIVE AMERICANS IN CONTEMPORARY U.S. AMERICAN CINEMA Tesis Doctoral presentada por Mª ELENA SERRANO MOYA Directores: Dr. Julio Cañero Serrano Dr. David Río Raigadas Alcalá de Henares, 2019 Firstly, I would like to express my most sincere gratitude to Dr. Julio Cañero Serrano and Dr. David Río Raigadas, for their support, trust in the research even when it was at an initial stage, and their never-ending patience as this dissertation has taken a lot of time, effort and courage. Special thanks to my friends and my colleagues who have been encouraging me even when my confidence and trust in myself were tumbling down. Receiving all kinds of emails, voice notes, and messages cheering me, helping me stay calm and focused have been more rewarding than you could ever imagine. This work is dedicated to my mom, my dad and my brother. Their endless support and faith, even in those moments when I just wanted to quit, have been the most decisive element in the completion of this dissertation. This research, this dream is possible because of their caring, understanding, and unconditional love. Without them, this dissertation could have never been finished. INDEX INTRODUCTION ................................................................................................................................ 3 CHAPTER 1: FRAMEWORK................................................................................................................. 7 1.1. THEORETICAL AND METHODOLOGICAL FRAMEWORK ..................................................................................... 9 1.2. RESEARCH SOURCES .............................................................................................................................. 24 1.3. GENESIS OF THE DISSERTATION ................................................................................................................ 37 1.4. RESEARCH QUESTIONS ........................................................................................................................... 44 1.5. SCOPE ................................................................................................................................................. 50 1.6. LIMITATIONS OF THE STUDY .................................................................................................................... 58 1.7. TERMINOLOGY ...................................................................................................................................... 60 CHAPTER 2: EVOLUTION OF THE IMAGE OF NATIVE AMERICANS ...................................................... 63 2.1. NATIVE AMERICANS IN THE UNITED STATES: A BRIEF HISTORICAL APPROACH .................................................. 65 2.2. STEREOTYPES........................................................................................................................................ 79 2.3. EVOLUTION OF NATIVE AMERICAN IMAGE IN THE ARTS ................................................................................ 83 2.4. SIGNIFICANT FILMS UP TO THE 1990S .................................................................................................... 104 CHAPTER 3. THE FRONTIER IN THE 20TH CENTURY ......................................................................... 131 3.1. NATIVE AMERICANS IN THE UNITED STATES (1990-2015): A BRIEF HISTORICAL SURVEY ................................ 133 3.2. THE WESTERN AND FRONTIER MYTHOLOGY ............................................................................................. 141 3.3. SETTING AND PLOT .............................................................................................................................. 153 3. 3. 1. EARLY YEARS OF CONTACT ............................................................................................................... 157 3. 3. 2. THE FRONTIER YEARS 1850S-1890S ................................................................................................. 165 3. 3. 3. AFTER THE FRONTIER YEARS ............................................................................................................. 186 3. 4. NATIVE AMERICANS AND THEIR RELATION TO WHITE CHARACTERS ............................................................. 189 3. 4. 1. DANCES WITH WOLVES, THE LAST OF THE MOHICANS AND GERONIMO, AN AMERICAN LEGEND ................... 190 3. 4. 2. PATHFINDER, WHITE FANG, POCAHONTAS, AND THE NEW WORLD ......................................................... 220 3. 4. 3. DEAD MAN, LEGENDS OF THE FALL, THE EDUCATION OF LITTLE TREE, AND THE SCARLETT LETTER ................. 230 3. 4. 4. THE MISSING, THE LONE RANGER, AND SILENT TONGUE ........................................................................ 240 3. 4. 5. MAVERICK, WAGON’S EAST, AND A MILLION WAYS TO DIE IN THE WEST ................................................. 252 3. 4. 6. THE BURROWERS, COWBOYS & ALIENS, AND BONE TOMAHAWK ............................................................ 257 3. 4. 7. THE REVENANT, WHERE THE RIVERS FLOW NORTH, SPIRIT: STALLION OF THE CIMARRON, AND HIDALGO. ...... 261 3. 4. 8 .MIRACLE AT SAGE CREEK, SERAPHIM FALLS, AND SEPTEMBER DAWN ....................................................... 269 3. 4. 9. 3:10 TO YUMA, MEEK’S CUTOFF, THE LEGEND OF HELL’S GATE, AND YELLOW ROCK.................................. 272 CHAPTER 4. HOW TO BE A NATIVE AMERICAN IN RECENT TIMES ................................................... 277 4.1. SETTING AND PLOT .............................................................................................................................. 282 4.1.1 THE FROZEN INDIAN .......................................................................................................................... 284 4.1.2 THE MODERN INDIAN ........................................................................................................................ 288 4.1.2.1 THE INDIAN SOLDIER....................................................................................................................... 289 4.1.2.2 THE INDIAN FROM THE REZ .............................................................................................................. 296 4.1.2.3 THE TEENAGE DRAMA INDIAN .......................................................................................................... 309 4.1.2.4 THE MYSTIC INDIAN/THE WISE OLD CHIEF ......................................................................................... 318 4.1.2.5 THE ORDINARY INDIAN.................................................................................................................... 321 4.1.2.6 THE FANTASY/HORROR INDIAN ........................................................................................................ 324 4.2. NATIVE AMERICANS AND THEIR RELATION TO WHITE CHARACTERS .............................................................. 325 4.2.1 THE FROZEN INDIAN .........................................................................................................................
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