More handpicked essays just for you.
Relations between native peoples and colonists
Interactions between europeans and indigenous
Relations between native peoples and colonists
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The film Broken Arrow (1950) by Delmer Daves is one of the first Western genre films to sympathetically portray Native Americans. From the beginning of Western film production, Native Americans are depicted as savage enemies to be conquered and defeated by white Europeans. The focus of this analysis will follow the change of Native American representation as “blood thirsty savages” (Benshoff and Griffin) to a more sympathetic stance as noted by Benshoff and Griffin in their article Native Americans and American Film. Broken Arrow is credited for making effort to change the representation of Native Americans through a more accurate portrayal. The film can be noted for its many successful attempts in accuracy of Indian portrayal for its time, …show more content…
but still perpetuates many deep flaws overall. To begin, a crucial aspect of Broken Arrow, as well as with many other Western films before it, is the influence of Eurocentric views being pressed onto Native Americans. The film is successful for being one of the first of its time to show Native Americans in a role different than the shallow image of an uncaring and brutal savage. In films such as Stagecoach (1939), released 11 years before Broken Arrow, Native American’s are given no lines. They are only depicted in faraway camera shots to show them in groups and emphasize the barbaric tone. The characters are completely undeveloped and have the sole purpose of posing as a threat to the newly immigrated white people. John Lenihan, in his article Showdown: Confronting Modern America in the Western Film states that “the Indian was considered a brute savage and his seemingly innate brutality, as evidenced by violent resistance to pioneer expansion served to justify his extinction,” (Lenihan 58). Lenihan acknowledges the terrible representation of Native Americans in early Western films and praises Broken Arrow for its innovative and compassionate take. In the late 1930’s, the portrayal of Indians in films as being barbaric cemented their image to European immigrants as dangerous and unacceptable. These early films represented Manifest Destiny ideologies of bringing class and society to the Wild West by eradicating all of the Native Americans. Broken Arrow breaks away from this hierarchy perception of early Eurocentric views and attempts to educate its audience that Indian life is “normal” and that there are many similarities between the two cultures. This film shows societies growth in perspective from the 1930’s Stagecoach. The Indian characters now have names, backstories and character development, not unlike the white characters. We see family, spirituality and a sense of community in their daily lives. The audience is able to feel an emotional connection to both cultures, despite their many differences. In drawing attention to the Apache culture, the film breaks away from its Eurocentric views and attempts to provide insight into the Native American way of life.
Tom, the main white male, dedicates time to learn the Apache language, how to send smoke signals and shows respect when speaking to Cochise. Tom’s effort to learn their norms represents Hollywood’s determination to represent the native culture accurately. Tom discovers that Indian customs are valuable in their own right, and he strives to reconcile the two races. He learns that “Indian mothers cry for their lost children and that Indian men have a sense of fair play, traits that correspond with the best values of his own race” (Lenihan 59). The film acknowledges how similar Indian life is to Eurocentric livelihood and values. The film succeeds in presenting the similarities between races and that Native Americans are human just like the majority of Eurocentric …show more content…
society. Furthermore, Broken Arrow can be analyzed through its ability to capture the reality of its time while influenced by Eurocentrism. The film is attempting to be realistic and accurately grasp Apache culture as a goal and style. For the 1950’s, the film exceeds its goal of showing a realistic portrayal of Indian culture. All preceding films to this were highly inaccurate and impersonal to Native Americans. However, it is important to assess this film from a current day perspective. Today, we can immediately see the concerns in casting white actors using red faces and the Apache speaking broken English. This was considered innovative and sympathetic for its time but it does not translate into the conventions of today. Nonetheless, the film is able to expose audiences to the humanness of Native Americans, and has progressed from the closed minded derogatory views of Stagecoach to a more accepting and sympathetic standpoint. Despite Broken Arrow’s attempt to recognize some of the accuracies of true Native American culture, it is still greatly flawed due to society’s engrained Eurocentric perspective. The “blood thirst savage” stereotype no longer represents the entire Indian culture, however it is still used to explain the character Geronimo and his hatred against the Europeans. The “noble savage” is also shown through Cochise who is reverse stereotyped as the complete opposite of the aggressive brutal Indian. In addition, frequently used “Aboriginal” stereotypes are shown such as the introductory titles depicting war finger painting and the drum sound effects. However, one of the largest pitfalls in this film may be the casting. Both main Indian characters, Cochise and Sonseeahray are played by white actors Jeff Chandler and Debra Paget in red face. The inability to cast Native Americans in their own roles shows the failings of society in the 1950’s, despite the films efforts to be more accurate. An additional success of Broken Arrow is the progressive cross culture relationship that grows between Tom and Cochise. The two men form a brotherhood and are able to bridge together their cultures to create a treaty. Chronicle of the Cinema by Karyn Karney praises the movie, "based on verifiable fact, it faithfully evokes the historical relationship between Cochise and Jeffords, marking an historical rehabilitation of Indians in the cinema” (Karney 400). There is still high tension between races as neither are initially accepting of a treaty, but the possibility of peace and understanding is shown to audiences in hopes of presenting a positive notion of the white’s relationship with the Native Americans. Furthermore, it is interesting that Daves shows the white settlers in a somewhat negative light. They all appear to be very close minded and aggressive compared to Tom. During the 1930’s, this attitude was never considered. There is no possibility that the white European settlers could be equally in the wrong as the Indians. Stagecoach exhibits the prejudice of its time that the Native Americans were solely villains to be eradicated and in no way understood. Eleven years later, the white military in Broken Arrow are now seen as brutal for killing the Indian men who have families and values. Unfortunately, a relationship that is not able to fully develop is that of Tom and Soneeahray.
The production of Broken Arrow was during a time still under the Hays Code. This prevented a lot of the liberties the film could have proceeded to take, such as the marriage between Tom and Sonseeahray. Miscegenation is another of the films greatest pitfalls, when introducing a mixed race relationship but having to end it due to the production restrictions of this time. A relationship between a white male and an Indian female is still very controversial in the 1950’s but it is important to note that this was not even a possibility in films such as Stagecoach where the men in the coach were willing to kill the women with them rather than allow for them to get close to any Indian savages. The film abides to the Hays Code and the expectations of its audience when both white and Indian characters express some distaste towards the idea of the marriage. Sonseeahray’s death occurs based on the expectation that a relationship between these cultures is unrealistic and impossible. Nonetheless, Daves is still able to differentiate Broken Arrow by creating an emotional connection between characters. Tom and Sonseeahray’s relationship is a symbol of unity and understanding between races. Angela Aleiss in her article Hollywood Addresses Postwar Assimilation: Indian/ White Attitudes in Broken Arrow notes that “the wedding ceremony emerges as a metaphorical theme: it is the “blood brother”
ritual displaced into marriage. The marriage represents a “model” of racial coexistence” (Aleiss 74). The relationship growth shown between the two cultures shows the possibility of inclusiveness and acceptance in actual society. Broken Arrow is a historically important film for its humane and sympathetic view of Native Americans. In the 1930’s, Indians were depicted as an undifferentiated mass. Broken Arrow, a significant amount of time later, takes a completely different stance. The film’s attempt at accuracy and realism is a first for its time. This illuminates its many successes with the depiction of a brotherhood between the two races and the ability to reach a treaty. However, this does not hide the many pitfalls this film still shows. The casting, use of miscegenation and language are just a few of its shortcomings causing it to fall prey to the stereotypes and standards of its time. Overall, the film both succeeds and fails in being a realistic depiction of history and Apache culture. However, its relative accuracy and deviance from the norms of Western film differentiates itself as a significant work in history.
Respect is shown to the laws and guidelines provided by their ancestors. Every morning Neena expresses to Ruby while she sits beneath the tree and connects to her spiritual ancestors, ‘Whitefellas call it meditation, but for us it’s remaking our spiritual connection to the country every day’. It is extremely important that there are people that are very close to their culture, so the tribe remembers their ways. Archie and Tjilpi are exceptional illustrations of...
In The White Man’s Indian, Robert Berkhoffer analyzes how Native Americans have maintained a negative stereotype because of Whites. As a matter of fact, this book examines the evolution of Native Americans throughout American history by explaining the origin of the Indian stereotype, the change from religious justification to scientific racism to a modern anthropological viewpoint of Native Americans, the White portrayal of Native Americans through art, and the policies enacted to keep Native Americans as Whites perceive them to be. In the hope that Native Americans will be able to overcome how Whites have portrayed them, Berkhoffer is presenting
They brought real Natives to play the Natives on the big screen and eventually movies were created by Natives themselves. Around the same time was the Hippie movement; many people wanted to be like the Natives they saw in the films even though it was not an accurate depiction of the Natives. They liked the 'positive stereotypes' of the Natives in the movies, the family unity and their strength as warriors. In the 1960's the American Indian Movement (AIM) also began and in 1973 The genocide at Wounded Knee occurred. Jim Jarmusch says “That is a genocide that occurred and the [American] culture wanted to perpetrate the idea that [the natives] these people are now mythological, you know, they don’t even really exist, they’re like dinosaurs.” This shows just how much Americans wanted to belittle the Natives, and despite succeeding for a number of years, the New Age of Cinema commenced and movies like Smoke Signals began what some would look at as a Renaissance. The Renaissance explained in Reel Injun discusses the rebirth of the Native American in the Hollywood films, and how the negative stereotypes went away with time. Reel Injun also makes a point to explain how it impacted not only the films but Americans who watched them, and ultimately America as a
In Thomas King’s novel, The Inconvenient Indian, the story of North America’s history is discussed from his original viewpoint and perspective. In his first chapter, “Forgetting Columbus,” he voices his opinion about how he feel towards the way white people have told America’s history and portraying it as an adventurous tale of triumph, strength and freedom. King hunts down the evidence needed to reveal more facts on the controversial relationship between the whites and natives and how it has affected the culture of Americans. Mainly untangling the confusion between the idea of Native Americans being savages and whites constantly reigning in glory. He exposes the truth about how Native Americans were treated and how their actual stories were
Lliu, K., and H. Zhang. "Self- and Counter-Representations of Native Americans: Stereotypical Images of and New Images by Native Americans in Popular Media." Ebscohost. University of Arkansas, n.d. Web. 19 Apr. 2014
John Smith, the troubled Indian adopted by whites appears at first to be the main character, but in some respects he is what Alfred Hitchcock called a McGuffin. The story is built around him, but he is not truly the main character and he is not the heart of the story. His struggle, while pointing out one aspect of the American Indian experience, is not the central point. John Smith’s experiences as an Indian adopted by whites have left him too addled and sad, from the first moment to the last, to serve as the story’s true focus.
People mistake the Indian culture for living in T-Ps and going to powwows and always being drunk. But Smoke Signals really shows how the Indian culture really is. It includes how their culture is different from the white man but the stereo types that people put out for Indians are really inaccurate. Victor and Thomas not only take us on this interesting adventure to see his dad but they show us all of the Indian stereo types.
iv-v) Works Cited Berkhoffer, Robert F. 'The White Man's Indian. Alfred A. Knopf Publishers, New York: 1978. Dowd, Frances Smardo. "Evaluating Children's Portraying Native American and Asian Cultures". Childhood Education; (68 Summer 92), pp.
Stereotypes dictate a certain group in either a good or bad way, however more than not they give others a false interpretation of a group. They focus on one factor a certain group has and emphasize it drastically to the point that any other aspect of that group becomes lost. Media is one of the largest factors to but on blame for the misinterpretation of groups in society. In Ten Little Indians, there are many stereotypes of Native Americans in the short story “What You Pawn I Will Redeem”. The story as a whole brings about stereotypes of how a Native American in general lives and what activities they partake in. By doing so the author, Alexie Sherman, shows that although stereotypes maybe true in certain situations, that stereotype is only
As a result, both films represent Native Americans from the point of view of non-Native directors. Despite the fact that they made use of the fabricated stereotypes in their illustrations of the indigenous people, their portrayal was revolutionary in its own times. Each of the films adds in their own way a new approach to the representation of indigenous people, their stories unfolding in a different way. These differences make one look at the indigenous not only as one dimensional beings but as multifaceted beings, as Dunbar says, “they are just like us.” This is finally a sense of fairness and respect by the non-native populations to the Native Indians.
It appears the caricature of Native Americans remains the same as first seen from the first settler’s eyes: savage-like people. Their culture and identity has become marginalized by popular culture. This is most evident in mainstream media. There exists a dearth of Native American presence in the mainstream media. There is a lack of Native American characters in different media mediums.
The Last of the Mohicans, by James Fenimore Cooper displays a great clash of culture. Not only do we see the difference between French and English soldiers fighting in the new world, but also present is the age old struggle between Native Americans and the white man. Culture for both parties varies drastically and has given rise to many conflicts over the course of time. Although in this novel we see a parallel with the father-son pair of Chingachgook and Uncas and the father-daughter situation of Munro and his daughters, their different circumstances give rise to different relationships. While the former is a deep connection that has been nurtured and strengthened by constant teamwork, the latter is more of a conventional bond
He adapts to the difficulties of the frontier and bridges the divide between white and Indian cultures. A hybrid, Hawkeye identifies himself by his white race and his Indian social world, in which his closest friends are the Mohicans Chingachgook and Uncas. His hybrid background breeds both productive alliances and disturbingly racist convictions. On one hand, Hawkeye cherishes individuality and makes judgments without regard to race. He cherishes Chingachgook for his value as an individual, not for a superficial multiculturalism fashionably ahead of its time. On the other hand, Hawkeye demonstrates an almost obsessive investment in his own “genuine” whiteness. Also, while Hawkeye supports interracial friendship between men, he objects to interracial sexual desire between men and women. Because of his contradictory opinions, the protagonist of The Last of the Mohicans embodies nineteenth-century America’s ambivalence about race and nature. Hawkeye’s most racist views predict the cultural warfare around the issue of race that continues to haunt the United
The story chronicles situations that illustrate the common stereotypes about Natives. Through Jackson’s humble personality, the reader can grasp his true feelings towards White people, which is based off of the oppression of Native Americans. I need to win it back myself” (14). Jackson also mentions to the cop, “I’m on a mission here. I want to be a hero” (24).
All in all, the treatment of the American Indian during the expansion westward was cruel and harsh. Thus, A Century of Dishonor conveys the truth about the frontier more so than the frontier thesis. Additionally, the common beliefs about the old west are founded in lies and deception. The despair that comes with knowing that people will continue to believe in these false ideas is epitomized by Terrell’s statement, “Perhaps nothing will ever penetrate the haze of puerile romance with which writers unfaithful to their profession and to themselves have surrounded the westerner who made a living in the saddle” (Terrell 182).