Indigenous Films in North America
This is the first book that comprehensively examines Indigenous filmmaking in North America, as it analyzes in detail a variety of representative films by Canadian and US-American Indigenous filmmakers: two films that contextualize the oral tradition, three short films, and four dramatic films. The book explores how members of colonized groups use the medium of film as a means for cultural and political expression and thus enter the dominant colonial film discourse and create an answering discourse. The theoretical framework is developed as an interdisciplinary approach, combining postcolonialism, Indigenous studies, and film studies. As Indigenous people are gradually taking control over the imagemaking process in the area of film and video, they cease being studied and described objects and become subjects who create self-controlled images of Indigenous cultures. The book explores the translatability of Indigenous oral tradition into film, touching upon the changes the cultural knowledge is subject to in this process, including statements of Indigenous filmmakers on this issue. It also asks whether or not there is a definite Indigenous film practice and whether filmmakers tend to dissociate their work from dominant classical filmmaking, adapt to it, or create new film forms and styles through converging classical film conventions and their conscious violation. This approach presupposes that Indigenous filmmakers are constantly in some state of reaction to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. The films analyzed are The Road Allowance People by Maria Campbell, Itam Hakim, Hopiit by Victor Masayesva, Talker by Lloyd Martell, Tenacity and Smoke Signals by Chris Eyre, Overweight With Crooked Teeth and Honey Moccasin by Shelley Niro, Big Bear by Gil Cardinal, and Atanarjuat: The Fast Runner by Zacharias Kunuk.
Consciousness and the Posthuman
William S. Haney II
Addressing a key issue related to human nature, this book argues that the first-person experience of pure consciousness may soon be under threat from posthuman biotechnology. In exploiting the mind’s capacity for instrumental behavior, posthumanists seek to extend human experience by physically projecting the mind outward through the continuity of thought and the material world, as through telepresence and other forms of prosthetic enhancements. Posthumanism envisions a biology/machine symbiosis that will promote this extension, arguably at the expense of the natural tendency of the mind to move toward pure consciousness. As each chapter of this book contends, by forcibly overextending and thus jeopardizing the neurophysiology of consciousness, the posthuman condition could in the long term undermine human nature, defined as the effortless capacity for transcending the mind’s conceptual content. Presented here for the first time, the essential argument of this book is more than a warning; it gives a direction: far better to practice patience and develop pure consciousness and evolve into a higher human being than to fall prey to the Faustian temptations of biotechnological power. As argued throughout the book, each person must choose for him or herself between the technological extension of physical experience through mind, body and world on the one hand, and the natural powers of human consciousness on the other as a means to realize their ultimate vision.