Download Media Images And Representations (Contemporary Native by C Richard King PDF

By C Richard King

This publication explores media insurance of local american citizens: in print and tv journalism, in motion pictures and tv, in local American media shops, and on the net. It additionally examines using local american citizens as mascots.

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The resulting biased coverage read like that written by war correspondents. It painted the American Indian Movement (AIM) and its members as radicals and subversive, warriors best understood as violent and hostile. At these moments, the more positive regard of the press and the public reverted to anti-Indianism, and was little changed from the previous century and eerily familiar from Hollywood westerns. The tensions within mainstream news coverage simultaneously romanticizing and demonizing American Indians, reflected the deep ambivalence with which Americans have long regarded Native Americans: good/bad, noble/savage, warrior/victim, and so on.

A determined enemy of white settlers and soldiers alike, he is the subhuman counterpart to the noble savage. The entertainment industry has not tired of the ignoble savage over the past century, conjuring him time and again, from the anonymous Indians in Battle at Elderbrush Gulch to the Pawnee adversaries in Dances with Wolves. Finally, it must be noted that the Hollywood Indian has been decidedly male, only occasionally giving indigenous women more than a sideways glance, and then, almost invariably as the mythic Indian princess, including Sonseeahray in Broken Arrow and the title character in Pocahontas.

While multiculturalism and an increased awareness of, if not sensitivity to, difference, promised to offer fuller, more human renderings of Native Americans, sadly, many mainstream images traveled backward in time and tone to speak to audiences in the present. On television, Dr. Quinn Medicine Woman retold the history of the frontier in romanticized terms, while Twin Peaks and Northern Exposure featured prominent indigenous characters in modern, if eccentric, settings. On the silver screen, with three exceptions, the crime drama Thunderheart (1992), the laughable Last of the Dogmen (1995), and the WWII action picture Windtalkers (2002), movies over the past fifteen years have told sweeping historical epics of cultural contact, unavoidable conflict, and impending doom.

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