Indigenous Representation
in Film and Media
By Red Haircrow
Overview
Films can influence views on
race and culture especially if
different from their own or
those they don’t know.
Stereotypes and inaccurate
history are more often
believed if seen regularly.
Acceptance of stereotypes has
been proven to cause racism
and discrimination.
Aeta People of Phillipines (Docu)
Inuit actor in film „Qallunaat“
So, it is even more important that different races and
cultures present themselves in film so their cultures,
traditions and beliefs may understood and treated with
respect. But for indigenous peoples around the world,
there can be many challenges to do so.
Indigenous People Worldwide
Facts and Statistics
•370 million indigenous peoples in over 90 countries, making up one-third of
the world’s poorest, suffering alarming conditions in all countries. Many have
fractured societies resulting from forcible invasion and colonialism by
Europeans.
•Indigenous peoples all over the world
continue to suffer from disproportionally
high rates of poverty, health problems,
violence, crime and human rights
abuses. These are also aftereffects of
colonization.
Intercultural Understanding
• The indigenous suffer the highest
rates of systematic racism by
majority population, violence,
continued land grabs and
environmental racism. They are
most vulnerable to the effects of
climate change, also as many are
isolated and poor.
• In whatever country they are,
indigenous peoples’ life
expectancy is up to 20 years
lower than their non-indigenous
counterparts.
Education Complications
More indigenous attend university than ever before but...
• In societies like the US and Germany, where individualism and
competition is encouraged, this is often opposite to indigenous ways
that traditionally promote communal benevolence and cooperation.
This means to succeed in German or US society can be spiritually
and culturally hurtful for the indigenous, and can lead to loss or
harm of native identity.
Further
• Suicide rates of indigenous peoples,
particularly the youth, are considerably
higher than other demographics. Even
in countries considered to be the
wealthiest in the world, like the US and
Canada, suicide has reached epidemic
proportions, where some natives are live
in worse than third world conditions.
Filmmaking
Despite these challenges, limited resources, and fewer possibilities of
distribution, in the last four decades more indigenous filmmakers are debunking
stereotypes and giving truer representation of themselves. They show the
indigenous in all their varieties. We see common daily life stories showing them
as the human beings they are, not caricatures or stereotypes.
Conversely, from the beginning of filmmaking, the majority of films on the
indigenous were written, produced and directed by the non-indigenous people
and based on racial bias and ignorance. Negative and incorrect stereotypes were
standard over a hundred years ago, and not much has changed today.
Examples of Stereotypes
• 100 years ago and now, Australian aborigines are often presented as
drunks, primitive, violent, devious and passive/aggressive. In America,
it’s the same, but add the inevitable noble warrior, mystic shaman or
exotic “Indian princess”. Despite raised awareness, statistics show
such stereotypes draw the highest dollar amounts from non-indigenous
audiences.
• Another troubling factor, more evident in Germany and European
countries, is that natives in film are almost always shown in past tense,
as if natives are extinct or irrelevant today. Only their past image is
recognizable or to be admired.
For the Money...
• Even when presenting stories involving minorities or ethnic characters,
directors almost always having non-indigenous or white/European
actors play non-white roles. The general consensus and fact is, despite
controversy and challenge, the practice based on money: the majority
of big-drawn actors are white and draw audiences and their money
even when pretending to be other races.
Prince of Persia (2010)
Exodus Gods & Kings (2014)
Key Factors of
Misrepresentation
(Films from the workshop description.)
•Historical Inaccuracies (The White Comanche)—Changing the
story to make Europeans more benevolent, loving, or heroes, while
natives are more often made more vicious, cruel, and primitive.
Cultural practices, clothing, languages and appearance are
inaccurate.
•Unethical Treatment (Green Inferno)—Specific misuse the
indigenous tribe’s image and characteristics, failure to fully disclose
storyline, gross negligence in intercultural contact.
Part 2
• Romantization of Indigenous People or their Treatment (Pocahantas,
The New World). The true acts of genocide, pillaging, widespread
rape, cruelty and land theft by Europeans that took place across the
world are conveniently “glossed over”. They are excused/mitigated by
changing the narrative, by calling it progress, and/or the advance of
civilization supporting the “Doctrine of Discovery” and “Manifest
Destiny”.
• Simplistic Characterizations & the Hero-izing of the White Man (New
Winnetou, Ridiculous Six) While top natives roles are given to nonnatives, actual Aboriginal people are cast as support or kept in
background, rarely allowed to speak or display their complexity and
richness as human beings. Rarely is a Native permitted to tell his or her
own story, and most stories are through the lens of the European
perspective.
Historical Inaccuracies
(The White Comanche)
•
“The White Comanche” was released in 2014,
debuting on SAT 1. It was first titled “The White
Squaw”, already showing the company’s lack of
knowledge. The film was written by a German
author, and produced by Bilderfest. I was a
consultant and casting agent as they wanted all
native roles to go to natives. When they instead
decided German Indian hobbyists, I declined any
further participation.
•
Claimed to be a documentary based on Cynthia
Ann Parker, a young German immigrant girl taken
by Comanches in the 1800s. The actual event was
documented, but very little other details or any
information about her life among the Comanche.
The only things know was she spent several years,
became the wife of a native man and had three
children before she was “rescued” by whites. She
and her 5 year old daughter died soon after
„liberation.“
Part 2
•
Bilderfest's representative revealed to me that in their desire to make the story
“entertaining” for its viewers, special “additions” would be made to spice it up. This is
where I particularly feel they crossed the line into unethical and harmful
misrepresentation. Ironic because this is supposed to be truth. A documentary.
•
Because they could not show the most extreme of their speculations and fabrications
using humans, they used animations to show graphic violence and rape. For example,
to represent what females, both native and captive may have to endure, one such
“pictured a man and a woman having sex, the woman screaming in pain and crying
while the man grunts and shouts triumphantly.” No history book or report, nor Cynthia
herself said she had been raped.
Part 3
•Other images show lots of screaming Indians and great splashes of blood as they slaughter
terrified white people. All male Indians wore headdresses and sat around and had visions
from peyote, or wildly danced. Women were docile, simply slaves and worth little except
sex.
•Parker’s descendants and other members of the tribe were outraged by this so-called
documentary’s depiction of their people and continue to pursue legal restitution. An elder
who had also been contacted for consultation before filming was too emotionally upset to
further speak on the topic, especially when Bilderfest defended their film as just
“entertainment.” Yet what they did cause real harm to the indigenous, their identity and
contributes to negative stereotyping and racism. It also teaches children it is okay to cause
cultural harm to others for their own satisfaction.
Unethical Treatment
(Green Inferno)
•
Eli Roth’s “The Green Inferno”
released worldwide this year. It
portrays a South American
indigenous tribe as savage cannibals
preying on white activists who come
to defend the rain forests. The tribe
is depicted as cannibals who practice
female genital mutilation, both of
which do not exist in the Amazon.
•
Like many other films, “A false
stereotype of the animalistic and
brutal indigenous savage is the
central theme. Other than the fake
name of the tribe, no indigenous
person has a name in the film, says
anything intelligible, nor is
otherwise humanized.”
Part 2
Though Roth’s film didn’t create
the problem of illegal mining
and violence against the
Amazonians, and he claimed he
was just trying to raise
awareness of the problem, that
certainly wasn’t the central
theme, and “The Green
Inferno” only reinforces
existing prejudices against
indigenous peoples, and makes
on-going situations of
discrimination, racism and
ignorance worse.
Part 3
•When confronted by native and
human rights activists Eli Roth was
very defiant and dismissive attitude
toward native concerns and the film’s
impact on natives as a whole and the
tribe they used specifically.
•Quoting Roth from an interview, he
laughed saying: “We had to tell them
what a movie is ... They've never even
seen a television ... By the end they
were all playing with iPhones and
iPads. We've completely polluted the
social system and fucked them up."
Romanticizing of Natives & Their
Treatment (The Pocahantas Story )
Pocahantas is one of Disney’s most beloved films
yet is one of the most enduring and blatant
examples of the romantization of natives, and
particularly young females as “Indian Princesses”
who inevitably falls in love with the handsome
European explorer. It also involves a strong dose
of historical inaccuracy and takes racist
characterizations farther.
•Her real name was Matoaka.
•She was 10-12 years old when Europeans,
including John Smith, contacted her tribe.
•She was subjected to rape, abuse and was taken
hostage.
•She died of disease in her early 20s far from her
homeland.
Other Problems
• “In the movies, Pocahontas disobeys her father and goes out to meet
Captain John Smith. This most likely would not have happened during the
time period in the movie, as it was a cultural norm for all tribal members to
adhere to any strict directive from a parent.”
• Both in Disney’s film and Malik’s The New World, Pocahantas was seen
to be dressed briefly or in a possible sexually provocative way which is
completely contrary to the modest dress typical of her tribe.
Part 3
• Native women have the highest statistics of rape and domestic
violence, by strong majority committed by non-native males. It is a
huge problem. They, like Asian and African women have been
sexualized and objectified by white filmmakers since filmmaking
began.
• Good Indian vs. Bad Indian. Pocahantas becomes a “good Indian”
because she is made to appear to help Europeans. All Indians are bad,
but there may be exceptions. If you don't help Europeans, you're bad.
• Disney's version has a happy ending. Many Native Americans feel this
is especially deceitful because that is exactly opposite to the real story,
which was centuries of killings and oppression that still continue to
this very day. Pocahantas‘s tribes was nearly wiped out by Europeans
during that time period. No joyful dancing at all.
Malik‘s The New World
• Why are the actual facts changed by
so many non-indigenous directors?
• Why is the story changed to a
gentle loving blending of cultures
instead of the reality of the rape and
murdering of the time period? Native
Americans from all tribes find this
deliberately falsehood deeply
disrespectful and angering, and
rightfully so.
•I’ve focused most on Disney’s
version, as Malik’s version follows
this workshop, so then you’ll get to
see another take on Pocahantas. Will
his be a better portrayal, simply
different or still problematic?
Simplistic Characterization & Making
White Man the Hero
(Ridiculous Six, the new Winnetou)
Fun At What Price?
• Adam Sandler’s upcoming release is a parody of 1950’s and 60’s
westerns, a comedy set in the “Old West” where inevitably Native
Americans appeared. While there have been numerous such films in
the past, some of which were criticized for their cultural insensitivity,
since its 2015, supposedly a more enlightened time you’d think they’d
do better.
• Some native actors walked off the set, including the cultural advisor
due to the disrespectful and demeaning characterization of elders and
women, who were presented as being crude and primitive. Again, you
have the stereotypical drunk Indians who’ll do anything for whiskey.
Harmful Humor & Stereotyping
• Cultural practices and traditions were a mish-mash of different tribes,
and fun is made of native names, using sexist and sexually crude jokes.
Though claiming it is only to be funny, they again reinforce negative,
harmful stereotypes and inaccuracies. Like racist sport mascots, studies
show this is psychologically damaging to natives, especially the young.
• The reality is: Natives love comedy, and humor is often a very
important part of indigenous life, but you don’t have to be racist and
sexist to be funny.
The New Winnetou
But what of filmmakers who believe they are just telling a story, trying to
make it authentic but also entertaining, showing the things they know
their target audience want to see about natives? The upcoming film, the
new Winnetou, would be such an example.
Fotos Gala Zeitschrift
More film location photos
Apache
Winnetou is a work of fiction, but the Apache
people are not fiction. In 2015, filmmakers
had the opportunity to make a culturally
accurate film, but instead chose to reinforce
wrong stereotypes, cast whites as natives, and
misinform a new generation.
–The new film has the Apache speaking
Lakota.
–Apache didn‘t live in tipis.
–Apache didn‘t wear their hair in braids.
–Apache women are very modest, and did not
wear sexualizing garments.
Traditional Apache female clothing
Q: Why do such filmmakers believe it
acceptable practice to change such details?
1. Privilege allows. 2.They‘re still supported.
Indigenous Filmmakers Today
Indigenous people in stereotypical
roles continues to be a successful and
lucrative formula for non-indigenous
filmmakers. The indigenous are still
more often "the bad guy", "the
monster", "the criminal" "the drunk",
"the comedy sidekick" and so forth.
–But what is the solution?
–Will activism help, will protesting
such films?
–Will more effort to help educate
and raise awareness change these
directors and writers’ minds?
Sterlin
Harjo
World renown native writer and activist Sterlin Harjo said:
“One actor in protest isn’t going to stop the millions of dollars behind films
like these. A few people canceling their Netflix subscription or Disney
studios isn’t going to stop them. What is going to stop it is when all of our
actors turn down roles like this....
It’s going to stop when more indigenous filmmakers are supported to create
their own visions. We have that power, we have the intelligence and
creativity but we need support.
Right now, in America, Native filmmakers are on the outskirts of the
outskirts – it’s true independent cinema. Studios won’t touch us. Indians in
buckskin and feathers is the only way studios want to see us because it fits
their narrative. They don’t want to see the truth.”
Everyday
You can support indigenous films and
indigenous filmmakers as allies by continuing
a respectful and understanding education on
both the challenges and beauty of indigenous
people, their cultures, histories and traditions
and their relevance and worth in a world in
which they are also a part.
Control of Identity
It is critically important indigenous
peoples control their own public images,
and show their lives and histories in an
honest way, not the imagination or
speculation of the non-indigenous.
Indigenous
Directors
This is only a few, but more and more
indigenous directors and writers are telling
their own stories.
Leena Manimekalai
(Tamil)
Mitch Torres
(Aboriginal Australian)
Taika Waititi
(Maori)
Solbon Lygdenov
(Buryat)
Ruben Reyes
(Garifuna)
Mark Smith (Choctaw)
Native Boy Productions
More
Films
By
or
About
Indigenous
The 1st Maori
Language
Action Film
(2015)
Based on a true story,
By the Yakel people
of Vanuatu (2015)
Film
Genres beyond the traditional:
„Violet“ –A Thriller/Horror Film (2014)
Traditional
Mongolian
Challenged by
Urbanization
(2005)
„Polyglot“, by Rwandan Berliner Amelia Umuhire.
The life of a ex-pat of color in Berlin. (2015)
Select Bibliography
1. THE PERPETUATION OF NATIVE STEREOTYPES IN FILM By KIMBERLEY KIYAWASEW. (January, 2014).
http://dtpr.lib.athabascau.ca/action/download.php?filename=mais/700/Kiyawasew%20Final%20Project.pdf
2. Media Smarts (2015) Common Portrayals of Aboriginal People http://mediasmarts.ca/diversity-media/aboriginal-people/common-portrayals-aboriginal-people.
3. "The Green Inferno" – Even Worse Than We Anticipated. September 25, 2015
Andrew E. Miller http://amazonwatch.org/news/2015/0925-the-green-inferno-even-worse-than-we-anticipated
4. 'The Green Inferno' Review: Lousy Film, Plenty Racist by Tara Houska. 10/2/15
Read more at http://indiancountrytodaymedianetwork.com/2015/10/02/green-inferno-review-lousy-film-plenty-racist-161947
5. The Pocahontas Paradox: A Cautionary Tale for Educators. Cornel Pewewardy, Ph.D. http://www.hanksville.org/storytellers/pewe/writing/Pocahontas.html
6. Pocahantas, Veronia Nunez, 2009, http://disneyandmovies.pbworks.com/w/page/17905676/1%20Pocahontas.
7. The Story About Adam Sandler's 'Ridiculous Six' You Didn’t Hear: Four Natives Speak. ICTMN Staff. 6/4/15
Read more at http://indiancountrytodaymedianetwork.com/2015/06/04/story-about-adam-sandlers-ridiculous-six-you-didnt-hear-four-natives-speak-160612
8. Read a Page From the Adam Sandler Script That Caused Native Actors to Quit by Vincent Schilling. 4/24/15.
Read more at http://indiancountrytodaymedianetwork.com/2015/04/24/read-page-adam-sandler-script-caused-native-actors-quit-160135
9. Netflix and Adam Sandler’s Ridiculous Six by Lauren Wissot. May 14, 2015.
10. SHAME ON HOLLYWOOD: These Are The Most Racist Films Of All Time by Keertana Sastry. Jun. 1, 2012. http://www.businessinsider.com/the-mostracist-films-of-all-time-2012-5?op=1&IR=T
11. UN State of the Indigenous Peoples Report
http://www.un.org/esa/socdev/unpfii/documents/SOWIP/press%20package/sowip-press-package-en.pdf
10. Shier, Sarah (2006). THE DEPICTION OF INDIGENOUS AFRICAN CULTURES AS OTHER IN CONTEMPORARY, WESTERN NATURAL HISTORY
FILM. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.509.646&rep=rep1&type=pdf
11. The Making of Buryatian history: Solbon Lygdenov. At http://calvertjournal.com/articles/show/1381/the-making-of-the-buryatian-film-industry.
All photos are copyright to their respective owners. No copyright infringement is intended. For educational purposes only.