Engl. 496: Bibliographic Project #2

Becky Fraze

19 October 2005

Dr. Moira Baker

Engl. 496: Bibliographic Project #2

Working Bibliography

Banks, James A., and Cherry A. McGee Banks, eds. Handbook of Research on Multicultural Education. 2nd ed. San Francisco: Jossey-Bass, 2004.

Bross, Kristina. Dry Bones and Indian Sermons. Ithaca, NY: Cornell UP, 2004.

Brown, Paul. “‘This thing of darkness I acknowledge mine’: The Tempest and the Discourse of Colonialism.” Political Shakespeare: Essays in Cultural Materialism. 2nd ed. Eds. Jonathan Dollimore and Alan Sinfield. London: Cornell UP, 1985. 48-71.

Campbell, James T. “‘Print the Legend’: John Wayne and Postwar American Culture.” Reviews in American History 28.3 (2000): 465-477. Project Muse. Radford U Lib. 7 September 2005. <http://muse.jhu.edu/search>

Cheyfitz, Eric. “The (Post) Colonial Predicament of Native American Studies.” Interventions 4.3 (2002): 405-427.

Dances With Wolves. Dir. Kevin Costner. Videocassette. Metro-Goldwyn-Mayer, 2003.

Jan Mohamed, Abdul R. “The Economy of Manichean Allegory.” The Post-Colonial Studies Reader. Ed. Bill Ashcroft, Garete Griffiths, and Helen Tiffin, New York: Routledge, 1995. 18-23.

Konkle, Maureen. “Indian Literacy, U.S. Colonialism, and Literary Criticism.” American Literature 69.3 (1997): 457-486. JSTOR. Radford U. Lib. 5 October 2005. <http://www.jstor.org/search>

Krauth, Leland. “Undoing and Redoing the Western.” Callaloo 28.2 (2005): 313-27. Project Muse. Radford U Lib. 7 September 2005. <http://muse.jhu.edu/search>

Lougheed, Pamela. “‘Then Began He to Rant and Threaten’: Indian Malice and Individual Liberty in Mary Rowlandson’s Captivity Narrative.” American Literature 74.2 (2002): 287-313. Project Muse. Radford U Lib. 12 October 2005. <http://muse.jhu.edu/search>

Owens, Louis. Mixedblood Messages: Literature, Film, Family, Place. Norman, OK: U of Oklahoma P, 1998.

Potter, Tiffany. “Writing Indigenous Femininity: Mary Rowlandson’s Narrative of Captivity.” Eighteenth-Century Studies 36.2 (2003): 153-167. Project Muse. Radford U Lib. 12 October 2005. <http://muse.jhu.edu/search>

Reed, T.V. “Old Cowboys, New Indians: Hollywood Frames the American Indian.” Wicazo Sa Review 16.2 (2001): 75-96. Project Muse. Radford U Lib. 7 September 2005. <http://muse.jhu.edu/search

Vizenor, Gerald. Manifest Manners. London: U of Nebraska P, 1994.

Weaver, Jace. “Ethnic Cleansing, Homestyle.” Wicazo Sa Review 10.1 (1994): 27-39.

ENGL 496

Annotated Bibliography #2: 10 Annotations

Becky Frase

Owens, Louis. Other Destinies: Understanding the American Indian Novel. Norman, OK: U of Oklahoma P, 1992.

Once I decided that my thesis topic was going to deal with Native American misrepresentation in film, I wasn’t sure if this book would help me. This book focuses primarily on novels written by American Indians, and how those authors are classified. However, I realized I could use some of this information in my paper to show how aspects of Native American culture are misrepresented (i.e. Native American people see themselves one way, filmmakers see them another).

At the beginning of the book there’s a great quote, “…woe to him or her who identifies as an Indian or mixed blood but does not bear a recognizable ‘Indian’ name or physiognomy or life-style…” (3). Owens goes on to say that Native Americans are misidentified or misrepresented because people think the term Indian means specific things; they associate it with powwows, teepees, feathers, or buckskin. Indians are also categorized as groups of people that existed a long time ago, not in the present day: “In fact, the Indian in today’s world consciousness is a product of literature, history, and art, and a product that, as an invention, often bears little resemblance to actual, living Native American people” (4).

“The dilemma begins with the word Indian” (7). Owens shows how ever since men came over from Europe there have been assumptions and generalizations made about Native Americans: “In spite of its wide acceptance, even appropriation, by Native Americans, it should be borne in mind that the word Indian came into being on this continent simply as an utterance designed to impose a distinct ‘otherness’ upon indigenous peoples” (7).

Assimilation has been expected from the start, and Owens provides plenty of strong statements about it: “To be ‘Indian’ was to be ‘not European.’ Native cultures – their voices systematically silenced – had no part in the ongoing discourse that evolved over several centuries to define the ‘Indian’ within the language of the invaders” (7).

There was definitely a lot in here that I can tie in with the Disney Pocahontas movies. Native Americans have always been seen a certain way, and Disney made a few movies where, instead of depicting what actually happened, they gave the audience stereotypes and inaccuracies that people have grown up assuming. I’m glad I didn’t return this book once I decided to focus more on films than novels.

Owens, Louis. Mixedblood Messages. Norman, OK: U of Oklahoma P, 1998.

Louis Owens devotes a whole chapter of his book to analyzing the character of John Wayne, showing how he starred in films where the Indians were either the enemy, or set up like props as a side story, deferring to a more pressing plot. This was a great essay for me to read, because not only was it informative, but Owens made a lot of strong statements that I could quote in my thesis. For instance,

The Searchers is Wayne’s most profound role in what it has to say about America’s eroticized hatred of the indigenous peoples of America. In Ethan Edwards’s pathological fear of miscegenation we see a perverse representation of the erotics of desire that have driven white and Indian relations since John Smith invented his fantasy about a girl named Pocahontas. (106)

Owens slices right through all the post-colonialism theory about a specific race being superior to another; that’s the mindset that’s been developed over time, and Owens not only brings that up, but relates it back to John Wayne: “Embedded in John Wayne’s role is America’s five-hundred-year-old long desire to become Indian, that unconscious but oft-articulated yearning to empty the space called Indian and reoccupy it. Only thus, America, instinctively feels can it ever achieve a direct and intimate relationship with the place it has stolen” (106). Owens’ keeps coming back to The Searchers, showing different contradictions throughout the movie.

What is most intriguing about this midcareer film for John Wayne, however, is the intense ambiguity of his character’s regard for and attitude toward Indians[…]To begin with, though he hates the Comanche and apparently all Indians with vehemence, Ethan Edwards appears to speak a good deal of Comanche. He also knows and even respects what is supposed to be Comanche belief, as is evident when he shoots out the eyes of an Indian corpse so that, as he explains, the Indian’s spirit cannot enter the “spirit land.” Finally, the character of Ethan Edwards curiously parallels that of the Comanche war chief, Scar, who has kidnapped Ethan’s niece. (105-6)

I don’t necessarily know if I will use the entirety of these quotes, or just parts of them, but they have all given me food for thought.

My favorite quote by far, though, is when Owens states, “Native Americans were from the beginning the fly in the New World ointment for invading Europeans” (108). This is funny, but at the same time true, and also something I could use to segue a part of my paper into talking about the Pocahontas movies and how the colonists felt about the natives from the start of their journey.

This chapter was devoted to John Wayne and how that factored into Native American roles in movies, but Owens mentions other movies, and roles in general that Indians were given to play.

The American hero is always saved from civilization, always moving across the border, always lighting out for the territory ahead of the rest. The Indians, meanwhile, fade into the landscape with which they are associated, indices of the place called American with no role in “civilization” and no place across the border. (104)

Owens hits the nail on the head when he talks about in most movies Indians simply ride around on ponies while white men hide behind wagons and shot them down one, by one, protecting the (white) women and children (100). “Sometimes the Indians got to ride in slow single file along a distant mesa or ridgetop just out of rifle range, silhouetted against the horizon while tom-toms beat in the background” (100).

I got a lot of information from this chapter of his book – he gives a lot of strong, accurate statements that I hope I can work into my paper to back up my thesis.

Owens, Louis. Mixedblood Messages: Literature, Film, Family, Place. Norman, OK: U of Oklahoma P, 1998.

In this chapter Owens focuses on the movie Dances with Wolves and how it not only portrays Native Americans, but also how it portrays the white colonist. Owens starts the chapter off by talking about Two Socks, the wolf that bonds with Lt. Dunbar in the movie. “In this role, Two Socks effectively foreshadows the submission of the Lakotas to the same white god, and together wolf and Indian serve to authorize the rightful role of the European invader in asserting his dominion over the continent and its occupants” (114).

Owens gets to the heart of the matter – the colonization of the land and even more so of the Native Americans. He states that the movie Dances with Wolves is, “…a cinemagraphically powerful, lyrically moving, heart-string pulling love letter to an absolute fake American past that Euramericans invented as a sanitized, romantic version of the ugly realities of colonization and genocide” (115-6). Again, my research is overlapping, because yet again an author talks about how the Indian is something the Europeans created. “…the so-called American Indian is a European invention that has little or nothing to do with the indigenous people who lived on this continent by the millions before 1492, and who live here still” (116).

Owens goes into detail about how the “Euramerican” infected Indians with smallpox wiping out thousands, and then “once the Native space has been secured,” made movies about them that are set in the past, to reassure themselves that they’re still vanishing (117): “Indians in movies have always had two roles: bloodthirsty savage or noble companion. In both of these roles, the one unchanging obligation of the Indian is to die by the movie’s end” (117). Owens points out that the media never portrays the Indian as living and contemporary, and then quotes Stephan Feraca saying the same thing I found when reading one of Ward Churchill’s essays. Owens then points out what others have, about the movie needing bad Indians, so Costner creates some “Pawnee warriors” (120).

Louis Owens is not at all timid in expressing his opinion, and asserts himself just as powerfully in this essay as Ward Churchill: “…from an American Indian point of view Dances with Wolves is one of the most insidious moments yet in the history of American film. It represents, in fact, the apex in America’s adroit, very self- conscious institutionalizing of the colonization of Native America” (121).

Owens touches on how the European invader tries to destroy everything that is Indian, but at the same time has a yearning to be Indian, which is where the movie Dances with Wolves comes in to play: “When Costner’s John Dunbar confronts Graham Greene’s Kicking Bird with the phallic power of his white nakedness, Dances with Wolves acts out very effectively (if unconsciously) the erotic nature of Euroamerica’s desire to simultaneously possess and destroy the Indian” (125).

Owens concludes his essay by talking about the end of the movie, and how that reflects once more on the depiction of the white man’s colonization:

Our final view of the Indians in the film shows them disappearing into a snowstorm as the inexorable U.S. Army approaches. The audience is left with an uncomfortable feeling that the Indians are vanishing under a literal and metaphorical blanket of whiteness as their doom closes in, but for non-Indian viewers the discomfort is everything valuable in the Indian world. He is now the greater American, the “new product” that has fused the values of old and new worlds, and the actual Indians are of no more importance. (126)

This chapter was informative and eye-opening, showing me things about the movie Dances with Wolves that I would have never realized on my own.

Pewewardy, Cornel. Why One Can’t Ignore Pocahontas. American Indian Stereotypes in the World of Children. Eds. Arlene Hirschfelder, Paulette Fairbanks Molin, and Yvonne Wakim. 2nd ed. Lanham, MD: Scarecrow, 1999. 171-174.

This is an essay I pretty much just stumbled across, and Cornel Pewewardy packed a lot of information into only a few pages. He focused on the Disney movie Pocahontas, and how it has affected children, because of its characterization. “The motion picture industry has probably taught more Americans about American Indians than any other source in the teaching and learning process of American children” (171).

Pewewardy states true facts about the real Pocahontas, and then shows how Disney did not stay true to much of that information: “The type of dress worn by the Disney Pocahontas would have been very sexist during her time in history. Further, she has a Barbie-doll figure, an exotic model’s glamour, and an instant attraction to a distinctly Nordic John Smith. Yet historians agree that Pocahontas and John Smith had no romantic contact” (172). I was in complete agreement with Pewewardy when he said that Disney had abandoned “historical accuracy in favor of creating a marketable New Age Pocahontas who can embody dreams for wholeness and harmony” (172).