In Reservation Reelism Michelle H. Raheja traces the stereotypical image of Native Americans in film to the silent era and to the earliest of native actors in Hollywood. She states clearly that the book is not “an exhaustive history of Native Americans in film,” but rather a critical study that leads to an “Indigenous film theory.” Her disclaimer is important because many readers will expect, given the book's title, a more in-depth history that might have included more discussion of the films and influences beyond the silent era through the current emergence of Indians as actors and directors. The absence of discussion about significant “turning point” films such as Broken Arrow (1996), Little Big Man (1970), Dances with Wolves (1990), and recent work by Sterlin Harjo, Malinda Maynor Lowery, and others detracts from an otherwise good study. Readers interested in the details of the participants in the silent films and their production, or in more recent films such as Imprint (2007) and Atanarjuat (2001), will find much of interest in Reservation Reelism.
Stored only when both papers are in the corpus — 64 citations exist upstream.
Imported from OpenAlex (CC0) — nothing here is generated.