Contents
Acknowledgments
Preface
Introduction: Indigenous Visualities
Part One: Indigenous Film Practices
Visual Prophecies: Imprint and It Starts with a Whisper - Michelle H. Raheja
Indians Watching Indians on TV: Native Spectatorship and the Politics of Recognition in Skins and Smoke Signals - Joanna Hearne
Sherman Shoots Alexie: Working with and without Reservation(s) inThe Business of Fancydancing - Theo. Van Alst
Elusive Identities: Representations of Native Latin America in the Contemporary Film Industry - Rocío Quispe-Agnoli
Condolence Tropes and Haudenosaunee Visuality: It Starts with a Whisper and Mohawk Girls - Penelope Myrtle Kelsey
Videographic Sovereignty: Hulleah J. Tsinhnahjinnie’s Aboriginal World View - Joseph Bauerkemper
Part Two: Contemporary American Indian Art
Indigenous Semiotics and Shared Modernity - Dean Rader
Seeing Memory, Storying Memory:
Printup Hope, Rickard, Gansworth - Susan Bernardin
Aboriginal Beauty and Self-Determination: Hulleah Tsinhnahjinnie’s Photographic Projects - Cynthia Fowler
Text-Messaging Prayers: George Longfish and His Art of Communication - Molly McGlennen
Contributors
Index