Pocahontas no more: indigenous women standing up for each other in twenty-first century cinema

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dc.contributor.author Mayer, Sophie
dc.date.accessioned 2018-05-02T12:03:04Z
dc.date.available 2018-05-02T12:03:04Z
dc.date.issued 2015
dc.identifier.citation Mayer, S. (2015) 'Pocahontas no more: indigenous women standing up for each other in twenty-first century cinema', Alphaville: Journal of Film and Screen Media, 10. en
dc.identifier.issued 10
dc.identifier.startpage 1
dc.identifier.endpage 16
dc.identifier.issn 2009-4078
dc.identifier.uri http://hdl.handle.net/10468/5984
dc.description.abstract Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of Indigenous women in the new Western genre described by Susan Faludi, Drunktown’s Finest relates to both the work of white ally filmmakers of the early 2000s, such as Niki Caro, and to the work of contemporary Indigenous filmmakers working in both features (Marie-Hélène Cousineau and Madeline Ivalu of Arnait) and shorts (Danis Goulet, Elle-Máijá Tailfeathers). Foregrounding female agency, the film is framed by a traditional puberty ceremony that—through the presence of Felixia, a transgender/nádleeh woman—is configured as non-essentialist. The ceremony alters the temporality of the film, and inscribes a powerful new figure for Indigenous futures in the form of a young woman, in line with contemporary Indigenous online activism, and with the historical figure of Pocahontas. en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.relation.uri http://www.alphavillejournal.com/Issue10/HTML/ArticleMayer.html
dc.rights © 2015, The Author(s) en
dc.rights.uri https://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subject Indigenous women en
dc.subject Appropriation en
dc.subject Film festival en
dc.subject Pocahontas en
dc.subject Drunktown’s Finest en
dc.subject Valerie Red-Horse en
dc.subject Erasure en
dc.subject Appropriation en
dc.subject New Western genre en
dc.subject Female agency en
dc.subject Puberty en
dc.title Pocahontas no more: indigenous women standing up for each other in twenty-first century cinema en
dc.type Article (peer-reviewed) en
dc.internal.authorcontactother Sophie Mayer, Independent Scholar en
dc.internal.availability Full text available en
dc.description.version Published Version en
dc.description.status Peer reviewed en
dc.identifier.journaltitle Alphaville: Journal of Film and Screen Media en
dc.identifier.journalabbrev Alphaville

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© 2015, The Author(s) Except where otherwise noted, this item's license is described as © 2015, The Author(s)
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