In recent years, archaeologists and Native American communities have struggled to find common ground even though more than a century ago a man of Seneca descent raised on New York’s Cattaraugus Reservation, Arthur C. Parker, joined the ranks of professional archaeology. Until now, Parker’s life and legacy as the first Native American archaeologist have been neither closely studied nor widely recognized. At a time when heated debates about the control of Native American heritage have come to dominate archaeology, Parker’s experiences form a singular lens to view the field’s tangled history and current predicaments with Indigenous peoples.

In Inheriting the Past, Chip Colwell-Chanthaphonh examines Parker’s winding career path and asks why it has taken generations for Native peoples to follow in his footsteps. Closely tracing Parker’s life through extensive archival research, Colwell-Chanthaphonh explores how Parker crafted a professional identity and negotiated dilemmas arising from questions of privilege, ownership, authorship, and public participation. How Parker, as well as the discipline more broadly, chose to address the conflict between Native American rights and the pursuit of scientific discovery ultimately helped form archaeology’s moral community.

Parker’s rise in archaeology just as the field was taking shape demonstrates that Native Americans could have found a place in the scholarly pursuit of the past years ago and altered its trajectory. Instead, it has taken more than a century to articulate the promise of an Indigenous archaeology—an archaeological practice carried out by, for, and with Native peoples. As the current generation of researchers explores new possibilities of inclusiveness, Parker’s struggles and successes serve as a singular reference point to reflect on archaeology’s history and its future.

Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction. 

A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena.

For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity-all partake in a search for a politically and culturally redeemed Italy.

Noa Steimatsky is associate professor of the history of art and film studies at Yale University.