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"Dowell, Kristin L"
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Sovereign Screens
While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions.
Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.
eBook
Aboriginal Diversity On-Screen
The Aboriginal Peoples Television Network adds another complex layer to the discussion about Aboriginal visual sovereignty. As a national broadcaster in Canada, APTN is connected to the mainstream Canadian mediascape; at the same time it is a vital institution for representing Aboriginal stories and experiences to all Canadians, Aboriginal and non-Aboriginal. In fact, the majority of the APTN audience is non-Aboriginal. What are the implications for Aboriginal visual sovereignty when non-Aboriginal audiences watch APTN? Does the witnessing of Aboriginal media by non-Aboriginal audiences strengthen visual sovereignty and recognition of Aboriginal rights? What role does APTN play in Aboriginal media in
Book Chapter
Canadian Cultural Policy and Aboriginal Media
This exchange with Odessa Shuquaya articulates a key paradoxical characteristic of Aboriginal visual sovereignty; namely, that much of the Aboriginal media produced in Canada is funded by Canadian cultural institutions. These cultural institutions—the National Film Board of Canada, Canada Council for the Arts, Telefilm Canada—provide funding for Aboriginal media under their mandate to supportCanadiancultural sovereignty, particularly vis-à-vis American media. What implications does this
embrace of Aboriginal media by Canadian cultural institutions have for Aboriginal visual sovereignty? Can Aboriginal filmmakers express cultural autonomy when they are funded by the very same Canadian government that they often critique?
Book Chapter
Visual Sovereignty in Aboriginal Experimental Media
I began this book with a question: “What does Aboriginal sovereignty look like on- and off-screen?” Throughout this book I have explored the concept of Aboriginal visual sovereignty to analyze the ways in which Aboriginal filmmakers stake a claim for Aboriginal stories in the dominant Canadian mediascape while simultaneously reimagining the screen by incorporating Aboriginal cultural protocols, languages, and aesthetics into the production process. In this chapter I highlight the work of two rising filmmakers in the Aboriginal media world—Kevin Lee Burton and Helen Haig-Brown—both of whom were mentored by Dana Claxton and Loretta Todd and whose films
Book Chapter
The Indigenous Media Arts Group
While Aboriginal media have made an impact on-screen within the Canadian mediascape, they have also made a tremendous off-screen impact in the social life of Aboriginal communities. For anthropologists of media, the social life behind media production is a testament to the power of media to alter and strengthen social ties. Drawing upon my access to the “behind the scenes” life of media production as an IMAG volunteer, I highlight how a sense of community is shaped, contested, and negotiated among urban Aboriginal filmmakers within the social spaces of media production. I locate Aboriginal visual sovereignty in the acts of
Book Chapter
Cultural Protocol in Aboriginal Media
The opening night ofThe People Go Onwas one of the first times in which I understood the extent to which Aboriginal media production makes an impact in the off-screen social relationships within Aboriginal communities. Aboriginal media nurture and constitute Aboriginal social relationships off-screen in numerous ways. That Loretta Todd, and other Aboriginal filmmakers, carefully enact cultural protocol through their production process is an act of Aboriginal visual sovereignty. Todd’s documentaryThe People Go On, discussed in greater detail at the end of this chapter, is experimental in its innovation in the documentary genre and also in Todd’s commitment
Book Chapter