Mishuana Goeman examines Terrence Malick’s film The New World (2005) and the Pocahontas narrative, analyzing the settler structures and regimes of power that sustain colonialism and empire.
Mishuana Goeman examines Terrence Malick’s film The New World (2005) and the Pocahontas narrative, analyzing the settler structures and regimes of power that sustain colonialism and empire.
Mishuana Goeman (Tonawanda Band of Seneca) is a professor and chair of the Department of Indigenous Studies at the University at Buffalo. She is the author of Mark My Words: Native Women Mapping Our Nations.
Inhaltsangabe
List of Illustrations Series Editors’ Preface Acknowledgments Introduction: The Spectacle of Originary Moments 1. The Consumption of Mythic Romance and Innocence 2. Settler Aesthetics and the Making of Cinematic Geographies 3. Filmic Apologies and Indigenous Labor 4. The “New World” of Race, U.S. Law, and the Politics of Recognition Conclusion: Undoing the Spectacle Notes Bibliography Index
List of Illustrations Series Editors’ Preface Acknowledgments Introduction: The Spectacle of Originary Moments 1. The Consumption of Mythic Romance and Innocence 2. Settler Aesthetics and the Making of Cinematic Geographies 3. Filmic Apologies and Indigenous Labor 4. The “New World” of Race, U.S. Law, and the Politics of Recognition Conclusion: Undoing the Spectacle Notes Bibliography Index
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