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

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dc.contributor.authorMayer, Sophie
dc.date.accessioned2018-05-02T12:03:04Z
dc.date.available2018-05-02T12:03:04Z
dc.date.issued2015
dc.description.abstractSydney 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.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationMayer, 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.10.07en
dc.identifier.doihttps://doi.org/10.33178/alpha.10.07
dc.identifier.endpage128
dc.identifier.issn2009-4078
dc.identifier.issued10
dc.identifier.journalabbrevAlphaville
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage113
dc.identifier.urihttps://hdl.handle.net/10468/5984
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.urihttp://www.alphavillejournal.com/Issue10/HTML/ArticleMayer.html
dc.rights© 2015, The Author(s)en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectIndigenous womenen
dc.subjectAppropriationen
dc.subjectFilm festivalen
dc.subjectPocahontasen
dc.subjectDrunktown’s Finesten
dc.subjectValerie Red-Horseen
dc.subjectErasureen
dc.subjectAppropriationen
dc.subjectNew Western genreen
dc.subjectFemale agencyen
dc.subjectPubertyen
dc.titlePocahontas no more: indigenous women standing up for each other in twenty-first century cinemaen
dc.typeArticle (peer-reviewed)en
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Alphaville: Journal of Film and Screen Media. Issue 10: Women and Media in the Twenty-First Century