Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn.
"Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn' discusses how Kiowa and Comanche actors embedded their respective material cultures in the 1920 silent film The Daughter of Dawn. Filmed in the Wichita Wildlife Refuge and featuring an all...
| Published in: | American Indian Quarterly Vol. 47; no. 2; pp. 157 - 181 |
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| Format: | Film/TV Criticism and Review |
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University of Nebraska Press
Spring2023
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=170388178&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 170388178 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0095182X AIQ jtl: American Indian Quarterly issn: 0095182X maglogo: N pubinfo: dt: Spring2023 vid: 47 iid: 2 pid: 758 pub: University of Nebraska Press artinfo: ui: 170388178 10.1353/aiq.2023.a906095 ppf: 157 ppct: 24 formats: fmt: – @attributes: type: T – @attributes: type: P size: 983KB tig: atl: Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn. aug: au: TOLL, SHANNON su: Daughter of Dawn, The (Film) Myles, Norbert A. Silent films Kiowa (North American people) Comanche (North American people) Native Americans in motion pictures Native American sign language Wichita Mountains Wildlife Refuge (Okla.) Modernism (Literary period) sug: subj: Daughter of Dawn, The (Film) Myles, Norbert A. Silent films Kiowa (North American people) Comanche (North American people) Native Americans in motion pictures Native American sign language Wichita Mountains Wildlife Refuge (Okla.) Modernism (Literary period) keyword: dance embodied practices film Indigenous modernisms ab: "Embodying Relationality and Enacting Resistance: Celluloid Mobilities in the Silent Film The Daughter Of Dawn' discusses how Kiowa and Comanche actors embedded their respective material cultures in the 1920 silent film The Daughter of Dawn. Filmed in the Wichita Wildlife Refuge and featuring an all-Indigenous cast, this film is a unique entry in the canon of silent Westerns produced in Oklahoma during its nascent statehood. The author illustrates how the Kiowa and Comanche cast enacted what Michelle Raheja calls "visual sovereignty," engaging in traditional cultural practices, both on and off camera, which were under attack by settler institutions. The performance and recording of these dynamic instances of buffalo culture, traditional dance, and Plains Indian Sign Language, which the author collectively refers to as "celluloid mobilities," constituted an embodied refusal of settler-colonial interference in Indigenous cultural continuance. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of American Indian Quarterly is the property of University of Nebraska Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: American Indian Quarterly holder: University of Nebraska Press dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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