CFP: Fourth Cinema: Indigenous Perspectives on Home (6/1/17; 11/1-5/17)

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CALL FOR PAPERS

Fourth Cinema: Indigenous Perspectives on Home

An area of multiple panels for the 2017 Film & History Conference:

Representing Home: The Real and Imagined Spaces of Belonging

November 1-November 5, 2017

The Milwaukee Hilton

Milwaukee, WI (USA)

DEADLINE for abstracts: June 1, 2017 (early decision) July 1, 2017 (general decision)

Long the object of the cinematic fascination of others, indigenous peoples around the world are taking control of their own images, stories and screen representations. Indigenous, or Fourth Cinema narratives (emerging primarily from Australia/New Zealand, the US, Canada, and Latin America) explore histories of colonization, dispossession, and inter-generational trauma. Fourth cinema narratives highlight the regeneration of indigenous language and cultures that is taking place around the world, and chronicle indigenous movements for land and natural resource rights.

How do indigenous film narratives shift the traditional focus on characters and subjects who struggle between traditional ways and the modern world?  What new conversations about “home” are prompted by these outsiders in the modern nation-state who are deeply rooted first inhabitants of their societies, yet relegated to the margins? In what ways do these characters complicate the insider/outsider dichotomy and the sense of home and belonging?

Fourth Cinema challenges viewers as well as by forging new models of collaborative community filmmaking and viewing and are not bound by the hierarchical production methods and formulaic constraints of commercial, profit-driven filmmaking.  This area seeks papers on films of all genres (including documentary and television) exploring but not limited to the following topics:

  • Dispossession/losing home
  • The struggle for land rights and environmental preservation/Preserving home
  • Returning home
  • Regeneration/Rebuilding home
  • Natural resource protection  
  • Environmental protection and indigenous nations
  • Indigeneity as a mode of resistance
  • Indigenous media in the era of globalization (global vs. local, small vs. corporate)
  • Indigeneity in global cultural practices
  • Indigeneity in media practices
  • Community filmmaking
  • Building indigenous audiences
  • The urban/reservation divide
  • International human rights movement/indigenous rights movement (global vs. local)

Just a few of the possible films to be explored:

Arctic

  • Atanarjuat: The Fast Runner. Directed by Zacharias Kunuk (Inuit). 2001
  • Bazo. Directed by Lars-Goran Pettersson. 2003
  • Before Tomorrow. Directed by Marie-Helene Cousineau and Madeline Ivalu (Inuit). 2007
  • A Bride of the Seventh Heaven. Directed by Anastasia Lapsui (Nenets) and Marku Lehmuskallio. 2004.
  • The Journals of Knud Rasmussen. Directed by Norman Cohn and Zacharias Kunuk (Inuit). 2006.
  • The Kautokeino Rebellion. Directed by Nils Gaup (Sami) 2007.

Australia.

  • Bedevil. Directed by Tracey Moffatt (Aborigine). 1993.
  • Beneath Clouds. Directed by Ivan Sen (Gamiaroi). 2002.
  • Jindalee Lady. Directed by Brian Syron (Aborigine) 1992
  • One Night the Moon. Directed by Rachel Perkins (Arrernte/Kalkadoon). 1998.
  • Radiance. Directed by Rachel Perkins (Arrernte/Kalkadoon). 1998.
  • Ten Canoes. Directed by Rolf de Heer and Peter Djigirr. 2001.

Oceania

  • Eagle vs. Shark. Directed by Taika Waititi (Maori). 2007.
  • The Land Has Eyes. Directed by Vilsoni Hereniko (Rotuman). 2004.
  • The Maori Merchant of Venice. Directed by Don C. Selwyn. 2002.
  • Mauri. Directed by Merata Mita (Maori). 1998.
  • Naming Number Two. Directed by Toa Fraser (Fijian). 2006.
  • Ngati. Directed by Barry Barcaly (Maori). 1987.
  • Once Were Warriors. Directed by Lee Tamahori (Maori). 1994.

North America

  • Barking Water. Directed by Sterlin Harjo (2009).
  • The Business of Fancydancing. Directed by Sherman Alexie (Spokane/Coeur d’Alene). 2002.
  • Dance Me Outside. Directed by Bruce McDonald 1995.
  • Dancing on the Moon. Directed by Rodrick Pocowatchit (Pawnee/Shawnee/Comanche). 2003.
  • Drunktown’s Finest. Directed by Sydney Freeland 2014.
  • The Doe Boy. Directed by Randy Redroad (Cherokee) 2001.

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information, see the Film & History website (www.filmandhistory.org).

Please e-mail your 200-word proposal to the area chair:

Deborah Adelman

College of DuPage

adelman@cod.edu