Portraying Indigenous Perspectives Through Self Representation

Portraying Indigenous Perspectives through Self Representation By Mykalah Singh During this semester I have been examining the way Indigenous peoples are portrayed in Hollywood films. For so long indigenous peoples have been only portrayed as static, one dimensional characters, who are reduced to various stereotypes, with their stories being told not from their own perspectives. Since the early beginnings of Hollywood film, non-indigenous filmmakers have told untrue stories of indigenous people. They have recycled the same old tropes wherever they see fit without acknowledging Indigenous perspectives, or taking into account the implications of their actions. By doing so, these filmmakers fail to realize how these images and storylines portraying indigenous people affect indigenous people themselves, and the way non-indigenous people see them. This essay will examine the need for accurate portrayals of indigenous peoples, and how Indigenous filmmakers are responding effectively to non-indigenous perspectives, through the practise of self-representation. I first became interested in the ways in which Indigenous people were portrayed in Hollywood films, when our FNIS100 class read Thomas King’s novel “the Inconvenient Indian: a Curious Account of Native People in North America”. Here I learned and the characteristics of stereotypes present in Hollywood films that I had noticed but never really thought critically of before. Examples of some of these stereotypes included the ‘noble savage, blood thirsty savage, Indian princess, and vanishing Indian’, all of which have been overwhelmingly present in Hollywood’s films throughout the years. Through our class’ discussions I realized the influence these representations had on the viewers, and how there was virtually no accurate representations taking place in these narratives told by non-indigenous perspectives. To find out more, I began visiting the library. Here I found a range of authors discussing the portrayals of indigeneity by non-indigenous filmmakers and the stereotypes present in their films. One of these works being author Angela Aleiss’ novel “Making the White Man’s Indian”, where she analyses Indigenous representations in Hollywood films. I began to see that up until fairly recently, Indigenous perspectives and stories were not being represented and told. I also found that the move toward more accurate representations lied within the action of self- representation. Through self-representation, indigenous filmmakers represent themselves, meaning they have full control over the stories they tell, and how they tell them. Through my research I also came across author Kerstin Knopf’s novel “Decolonizing the Lens of Power”. Knopf examines the ways in which a video camera is used as a tool to project power and colonization, by looking at “Michel Foucault’s notion of the ‘gaze of power’” (xv). Which allows non-indigenous filmmakers to propagate colonial ideologies “that control, define, and objectify oppressed groups” (xv). Knopf then examines the concept of Indigenous filmmaker’s response to the “lens of power” by “returning the colonial gaze through creating anticolonial, autonomous media” (xvi). Through these actions of decolonization, indigenous perspectives emerge, depicting “Indigenous Identity, cultural values, and historical and contemporary experiences” (17) accurately. Knopf further adds to the discussion, stating that the end of misrepresentations surrounding Indigenous peoples; begin with ingenious filmmakers asserting self-representation. From an early age, people from all backgrounds watch their favourite Hollywood films; in doing so, children and adults alike find entertainment and inspiration. These films shape a person’s identity and outlook on the world. For many, these stories could play as truths even when they are actually lies. False truths could be very impactful and can help perpetuate stereotypes present in real life, and the racism and ignorance that usually drive these stereotypes. These false narratives of Indigenous people can also affect the identity of Indigenous people, and the ways they see themselves. The negative portrayal can have a feedback of negative self-image, leaving Indigenous people confused as to who they are and how they are supposed to be. The realities of this ordeal are expressed in Kerstin Knopf’s novel where she describes this appropriation, resulting in “confusion, self-denial, cultural alienation, and identity crisis” (xi) The circumstances examined above are a reality for many indigenous people, who are portrayed untruthfully in Hollywood films. This ordeal shows the need for more accurate portrayal of indigeneity, and a greater representation of indigenous people, predominantly expresses through self-representation. Among the false representations, indigenous filmmakers and television broadcasters have emerged and have begun to resist non-indigenous perspectives. These indigenous filmmakers are changing the way indigenous people are portrayed in films, and thus the way people see indigenous people in real life. They are telling stories that accurately and authentically portray indigenous people. Stories which show that indigenous people are more than just stereotypes, that they are more than what non- indigenous filmmakers portray them as. Greater representation of indigenous people in film helps to breakdown stereotypes and misconceptions that affect real people. Indigenous people move from being in front of the camera –with little control on the roles and characters they play in films, to behind the camera –with full designation to share their perspectives and identity. As I was thinking about my big idea topic, I realized Pocahontas was one of the first representations of Indigenous peoples in film; I was ever exposed. Walt Disney Studio’s film Pocahontas (1995) directed by Eric Goldberg and Mike Gabriel and produced by James Pentecost, is a prime example of inaccurate representations. Disney’s Pocahontas tells the love story between John smith -an English Imperialist, come to colonize present day Virginia, and Pocahontas -the free spirited “Indian Princess”, who is the daughter of a Chief. Like many classic love stories the couple are separated by differences, in this case war. Pocahontas must save John smith, although in the end they cannot be together due to their differences. When I was younger I did not see anything wrong the film. Watching it again, now years later, I discovered things I had not known about or noticed before. What I observed were stereotypes in the depiction of the Indigenous characters in the film. Two prevalent stereotypes were those of the bloodthirsty savage, and of the noble savage, mentioned in King’s novel. Pocahontas’s tribe is depicted as the bloodthirsty savages and she as the noble savage. The bloodthirsty savage stereotype is developed through portraying Indigenous peoples as scary, violent, malevolent beings, wishing only to kill and ravish. Whereas the noble savage is developed through portraying Indigenous peoples as those who speak to animals, are full of wisdom and teachings, non-violent, and are usually willing to sacrifice themselves for the greater good. Examples of these stereotypes in the film includes the first scene of the Indigenous characters, showing them returning from war, and telling of how they destroyed their enemies. Another is the very way the European colonists refer to the Indigenous peoples as “bloodthirsty savages”. With many characters seen holding angry expressions and wielding weapons at all times. In contrast, examples of the noble savage stereotype in the film include how Pocahontas’s friends are a raccoon and hummingbird. She often seeks the advice from grandmother willow for guidance. As well as the way she was willing to sacrifice her identity, culture and life in order to save John Smith from her tribe. Overall, Pocahontas paints the untrue depiction of Indigenous peoples, composed by non-Indigenous perspectives, which aid in the misconception and ignorance of a diverse set of peoples. The fact that this film’s target audience is children is alarms me, as many can grow up believing these ideas about Indigenous peoples are okay, and true, when they are not. As the semester in FNIS100 continued we looked again at representations of Indigenous peoples, this time centered on their representations in Hollywood movies, and move toward self-representation. To examine this, we watched the film Reel Injun by Cree filmmaker Neil Diamond. The film followed the birth of the Hollywood Indian in the Hollywood film industry, from the onset of indigenous presence in western films to the push towards ‘screen sovereignty’ and self-representations by indigenous filmmakers in films like Smoke Signals. The film itself was a product of self-representation, and we got to see the narrative told by those who it directly affected and pertained to, offering unique, authentic and necessary points of view. Another film that was discussed in the film which we analysed in class was the film Antanarjuat: The Fast Runner, directed by Inuit filmmaker Zacharias Kunuk. The film tells the story of an Inuit legend, which has been told for many years, passed traditionally from generation to generation through oral teaching. The film shows indigenous perspectives that are necessary to be presented, fully embodying the masterpiece that is Indigenous self- representation. Representations as these are important, as Indigenous peoples can see stories that relate to them directly, contrasting

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