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Imagic Moments Indigenous North American Film!

Disappearance and death as narrative themes are repeated in creative and complicated ways. Her death takes place before the film begins, but her presence continues throughout the film.


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In these and other films Schweninger reviews, death challenges the all-too-pervasive Hollywood focus on the death of an Indian person as a major Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

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Copy Cats. Dragonflies and Damselflies of Georgia and the Southeast. Visit any pond on a summer day and the air will be alive with dragonflies Organized for easy use in the field, this abundantly In addition to offering a new perspective on several well-known films, the author introduces his reader to films that have received scant scholarly attention, such as The Exiles , Tkaronto , and Naturally Native.

Students, scholars, and interested lay people will find the book engaging, as it is written in a highly accessible style with a keen attention to detail.

I look forward to using it in my Indigenous media classes. In addition to offering a new perspective on several well-known films, the author introduces his reader to films that have received scant scholarly attention, such as The Exiles, Tkaronto , and Naturally Native. His perceptions are cogent and original and demonstrate a profound knowledge of the 'cinema of sovereignty.

Each chapter offers in-depth and valuable studies of significant Indigenous films that will be useful to both the casual film buff and the scholarly audience. Perhaps most significantly, Schweninger's collection of critiques will provide academics a more through and useful understanding of Indigenous films and encourage their use in curriculum programs beyond Native American and Indigenous studies classrooms.

Schweninger concludes with the assertion, 'There is a future' for indigenous cinema.

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Indeed, this text helps to create a critical structure to understand such films of the present and of the future. That is why this book is so valuable and important. The author's style is careful, meticulous, and accessible.