American Indian Women and Community Issues

America, where representations of Indian custody and women perform stereotyped Noble/Savage or Princess/Squaw functions, depending on their relationships with discolors. The princess figure is a convert who rejects or is rejected by her let people for her transgressive attraction to lily-white culture or white individuals, and who whitethorn die as a result. The squaw denotes a shameful sexuality that taints the men she associates with (hence the derogatory term squaw man).Mixed-race relationships, especially those amidst Indian women and white men, are one way in which the landscape and resources of the American wolfram were represented cinemati rallyy as available for sexual, economic, and sociopolitical exploitation. Silent Westerns andIndian dramas from 1908 to 1916 provide a remarkable window on Euro-American popular culture representations of the encounter between tribal peoples and the United maintains military and educational establishments.These early Westerns, many of them instantly unknown or unavailable outside of archives, provide a abstruse narrative that depicts the white family on the land emerging from the broken foot of a previous mixed-race marriage, and that equates children, land, and gold as the spoils of failed romance, not of war. The ordeal of separating children from their families and cultures by means of the Indian boarding school policy and the trauma of their return base as outsiders is fully recognized in silent Westerns, which were produced during a period when federal Indian policy encouraged both assimilation and removal from the land.In these tales of interracial romance, captivity, and adoption, defining narrative features include doubling, mistaken identity, and the social and geographical displacement and wink-stringer of persons. Such narrative strategies reflected the physical acts of displacement and replacement that have been hallmarks of U. S. American Indian policy, from Indian Removal and the Indian Wars finished the slow erosion of reservation lands in the twentieth century.Indian men and women ultimately choose to return to their tribes, depicting a latent, racially based call of the wild that could reclaim eastern-educated Indian and mixed-blood children from their new lives. Another turn-of-the-century catch-phrase for this idea that the assimilated or educated Indian would simply return to the reservation and abandon white teachings was back to the blanket, again emphasizing clothing as an indicator of racial and cultural allegiance.The Derelict, emphasize the strength of Indian women and moral weakness of white men in cross-racial relationships. Hollywoods silent era did not change the general negative cultural stereotypes more or less congenital Americans, but it did produce a large number of Westerns and documentaries that offered alternative viewpoints influenced by the indigenous writers and filmmakers, reform movements, and racial theories that were widespread at the time.Films about mixed-race romance and mixed-race children in the first and second decades of the twentieth century articulated and influenced public opinion about Native American assimilation (particularly about the taking of land and children through the Dawes turn of events and the boarding-school system), as well as public and academic speculation about the nature of race and culture. The films consistently contrast the acquisition of land and exporting of gold, oil, and children from the West with the importance and value of family and even tribal obligationsWORKS CITED Aleiss, Angela. 1995. Native Americans. The strike Silents. Cineaste . Allred, Christine Edwards. 2001. Harpers Indians Representing Native America in Popular powder store Culture Los Angeles, Babcock, Barbara. 1996. First Families Gender, Reproduction and the Mythic Southwest. The Great Southwest of the Fred Harvey fraternity and the Santa Fe Railway. Ed. Barbara Babcock and Marta Weigle. Phoenix Heard Museum. 207-17. Bataille, Gretchen M. , and Charles P.Silet, Eds. 1980. The Pretend Indians Images of Native Americans in the Movies. Ames Iowa State UP, Bergland, Renee L. The National Uncanny Indian Ghosts and American Subjects. Hanover UP of New England, 2000. Berkhofer, Robert F The White Mans Indian Images of the American Indian from Columbus to the Present. New York random House, 1979. Bernardi, Daniel, Ed. The Birth of Whiteness Race and the Emergence of U. S. Cinema. New Brunswick Rutgers UP, 1996. Bhabha, Homi.1994. The Location of Culture. capital of the United Kingdom Routledge. Bolt, Christine. 1987. American Indian Policy and American Reform Case Studies of the melt down to Assimilate the American Indians. London Allen & Unwin. Bourdieu, Pierre. 1990. The Logic of Practice. Trans. Richard Nice. Cambridge Polity. Brownlow, Kevin. 1979. The War, the West, and the Wilderness. New York Knopf. Butler, Judith. 1990. Gender throw out of kilter Feminism and the Subvers ion of Identity. New York and London Routledge.