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

Mayer, Sophie

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

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Published Version

Date

2015

Authors

Mayer, Sophie

Publisher

Film and Screen Media, University College Cork

Published Version

https://doi.org/10.33178/alpha.10.07

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.

Keywords

Indigenous women , Appropriation , Film festival , Pocahontas , Drunktown’s Finest , Valerie Red-Horse , Erasure , Appropriation , New Western genre , Female agency , Puberty

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. https://doi.org/10.33178/alpha.10.07