Native Americans: The Surprising Silents: Race In Contemporary American Cinema - Part 4
CINEASTE, 1995, v. 21, no. 3, pp. 34-35
"In 'The Surprising Silents," Angela Aleiss indicates that many contemporary 'reforms' involving Native Americans (the use of Native Americans to play themselves, the employment of Native Americans behind the camera, and the fashioning of positive images and story lines) were not uncommon in the silent era. Her survey raises the issue of why the cinematic image of Native Americans deteriorated and suggests the long-term impact of present reforms may also prove fleeting."
ITEM 1995.097 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
The Silent Enemy (1930) – Henry Carter
White Fawn's Devotion (1910) – James Young Deer
The Squaw Man (1905) – Edwin Milton Royal
The Battle at Elderbush Gulch (1914) – D.W. Griffith
America (1924) – D.W. Griffith
The Redman and the Child (1908) – D.W. Griffith
The Broken Doll (1910) – D.W. Griffith
Was He A Coward? (1911) – D.W. Griffith
A Romance of the Western Hills (1910) – D.W. Griffith
The Chief's Daughter (1911) – D.W. Griffith
Custer's Lasts Fight (1912) – Thomas H. Ince
The Indian Massacre (1912) – Thomas H. Ince
The Vanishing American (1925) – George B. Seitz
Frozen Justice (1929) – Allan Dawn
The Heart of Wetona (1919) – Sidney A. Franklin
Dead Man's Claim (1912)
A Midnight Phantasy (1903)
An Up-to-Date Squaw (1911)
The Paleface (1921) – Buster Keaton & Edward Cline
Big Chief Koko (1925) – Max Fleischer
In the Land of the Head-Hunters (1914) – Edward Curtis
Before the White Man Came (1920) – John Maple
With Sitting Bull at t he 'Spirit Lake Massacre' (1927)
Dances With Wolves