Thursday, March 5, 2009

Native American portrayals (group activity)

Classical Westerns (early to mid 20th century)

Native Americans portrayed as blood thirsty savages, bad guys, head dresses, bow and arrows, chases on horses.

Classical Western themes in Back to the Future 3:
We see them the first thing when going back and they were attacking him. They were there to show that he was in the west. Battle between whites and Native Americans were thrown in there to saw they were in the old west. Almost used as a prop.


Key themes/portrayals in Dances with Wolves (1990)
  • Portrayed Native Americans as people that could be reasoned with and understood, but required Costner’s character to lower his standard of life to fit in with them.
  • More complex Native American characters than the basic “bloodthirsty savages” that dominated earlier films.
  • Music was softer and more appealing than earlier movies.
  • Actually used Native American actors.
  • Interesting dynamic of positively portraying Native Americans, but had to use a white man’s perspective to accomplish it.
Taylor Lautner as Jacob Black in Twilight (2008):


Twilight Casting Angers Native Americans

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Study guide under construction (3/5)

Native Americans and American Film
  • How bloodthirsty/noble savage images, manifest destiny, genocide influenced representations 104
  • How ethnographic films functioned to naturalize stereotypes of Native Americans 106
  • Key themes and iconography of the Classical Western (be able to give examples from films) 106-108
  • Why post-WWII social problem films focusing on Native Americans were still problematic 110
  • How images/involvement of Native Americans in film has and has not changed over time 102-122
  • Positive and negative images of Native Americans in contemporary film (give examples) 115, 118

Tuesday, March 3, 2009

Study guide under construction (3/3)

African-Americans and American Film
  • How the legacies of slavery and minstrel shows/blackface contributed to representations 78-81
  • Film stereotypes of African Americans (Coon, Uncle Tom, Mammy, Tragic Mulatto, Black Buck) 79
  • How the production code of Classical Hollywood limited roles available to African-Americans 82-83
  • Progressive themes and problems associated with post-WWII social problem films on race 85-87
  • How Hollywood profited from “blaxploitation” films and black & white “buddy movies” 88-89, 91
  • Positive and negative images of African-Americans in contemporary film (give examples)
    98-99

African Americans on film

The Little Colonel (1935)


Song of the South (1946)


Shaft (1971)


Lethal Weapon (1987)