Presentation Structure:
1. Introduction:
Cowboys vs Indians
2. Representation
of American Indians in Film and Literature: Stereotypes
3. Representation
of American Indians in Film and Literature: Historical Context
4. Case Study:
Laura Ingalls Wilder’s Little House on the Prairie (1935)
This presentation aims to discuss the representation of
American Indians in American Literature and Film. Firstly we will look at the ‘social,
ideological and political construction’ (Kilpatrick:
Celluloid Indians: Native Americans and Film, XVI) that has resulted in the way
Indians are
portrayed in American Film and Literature. Laura
Ingalls Wilder’s 1935 novel, ‘Little
House on the Prairie’ will be used as a case study in which the attitudes
towards American Indians will be discussed.
Introduction: Cowboy’s vs Indians:
The American Western, arguably the most popular American
genre in film and literature history, characterised by larger than life heroes
who protect the citizens of the West from the ‘forces of evil’ who plague the uncivilized
frontier. These ‘forces of evil’ come in many forms. Mother Nature, the
Government, Cattle Barons and Outlaws are examples of these classical western
antagonists. Although, the most famous western antagonist is that of
the ‘American
Indian’, the native peoples of America who stood in the way of Westward
Expansion. The Indians are usually portrayed as ‘stoic and unemotional’ (Tavare: “Hollywood Indians”) warriors who often come
into battle with the cowboy heroes of the western picture. This is just one
example of different stereotypes that feature in Western films and novels, and
next we will continue to look at the different stereotypes and where they
originate from.
Representation of American Indians in Film and Literature:
Stereotypes:
“Stereotypical images of
American Indians in Hollywood continue to influence public perception about
this racial group’. (Nittle)
Many different American Indian stereotypes have developed
overtime in American film and literature.
As a starting point, Jay Tavare
in ‘Hollywood Indians’ claims Indians
are stereotypically ‘depicted as nothing more tha bronzed, half clothed savages,
sporting the stereotypical double braids screaming Ayyyyaaaayayaaaaa as they got shot off their horses by the White
heroes’. What Tavare’s comment suggests is that Indians, despite
being multiple tribes with different practices, were often portrayed in the same way.
Tavare also shows how the Indians were portrayed as being physically similar from film to film. Furthermore, it shows how the Western was ideologically
constructed around the White hero, and so Indians automatically take the role
of the antagonist.
Tavare’s comment gives us a broad overview of how Indians are
stereotypically presented. Other critics have aimed to pin down these stereotypes.
Firstly, Jacquelyn Kilpatrick in ‘Celluloid Indians’ states Indian stereotypes
can be divided into three categories, ‘Mental, Sexual and spiritual’. Although one can
relate these categories to Indian portrayals in American Film, Kilpatrick’s
categories are broad,
and it can be difficult to differ between a ‘Mental, Sexual and Spiritual’
stereotype. In the article, “5 Common Native American Stereotypes in Film and
Television”, Nadra Kareem Nittle
develops on Kilpatrick’s stereotypes, providing a more diverse and varied response to American Indian stereotypes. Kareem states that
there are 5 different stereotypes including ‘beautiful maidens’, ‘stoic Indians’, ‘magical
medicine men’, ‘bloodthirsty warriors’ and ‘in the wild and on the rez’ (reservation). These Stereotypes provide a more
diverse look at the representations of Indians and as a result, it can be
easier to relate these to Film and Literature.
This shows the diverse ways in which American Indians are
portrayed on screen, but yet the majority of the stereotypes provided carry
with them negative
connotations to which have been
actively opposed by American Indians (More on this with video). Furthermore,
these Stereotypes have developed over time, and are a direct result of the history between the
American Indian and White settlers.
Representation of American Indians in Film and Literature:
Historical Context
As aforementioned, the stereotypes have developed around the
history of European Settlement of America. Since the Plymouth Rock landing,
there have been number incidents were the ‘Americans’ and the Natives have come
into conflict. These conflicts, including the one pictured above, often ended
in success for
the United States government and so the whites naturally assumed the role of
heroes, which would help later develop the representations in film and
literature. Brian Young, in his article, “Why I Won’t Wear War Paint and Feathers in a
Movie Again” traces the historical roots of
the stereotypical representations of American Indians to 19th
century Wild West shows, such as
those performed by Buffalo Bill. The shows would recreate battles, such as the
Wounded Knee Massacre (pictured above), which were major defeats for American
Indian tribes. Furthermore, he claims these defeats translated to the screen
well, he states “silver-screen
tales about defeating Native American Tribes Proved to be hugely popular, so
Hollywood churned them out”. Although,
young concludes by stating that during the 1960s and 1970s, the stereotype
began to evolve from
“reactionary savage to the romantic victims of westward expansion”,
which suggests Hollywood began to recognise the problems with the portrayals of
the Natives.
Many American Indians remain unhappy about the stereotypes
portrayed on film and literature during the last century. This video perfectly
encapsulates the American Indian
reaction to these stereotypes.
Case Study: Laura Ingalls Wilder’s Little House on the
Prairie (1935):
“The only good Indian is
a dead Indian” (259)
Laura Ingalls Wilder’s ‘Little
House on the Prairie’ (1935) is the semi-biographical, continuing narrative
of Laura and her family, as they move Westward during the 19th century,
in search of ‘new’ and ‘free’ land. During the time the novel was written,
American was facing economic depression, known as the ‘Great Depression’. Although during this time, film
and literature provided a sense of escapism for
audiences, and so the movie business especially continued to have great
success. The aforementioned stereotypes of American Indians were beginning to
evolve during this time and ‘Little House
on the Prairie’ is an example of these developing stereotypes. Over numerous chapters, descriptions
and characteristics can be related back to the aforementioned stereotypes of
American Indians. Although we will focus on the chapter ‘Indians in the House’, which is
when the family first come across Indians in the story. Before discussing the
chapter it is worth noting that the family have already been set up as the ‘heroes’ of the novel, with ‘pa’ taking the role of the alpha-male, white,
Western hero. When the Indians first arrive at the Ingalls house,
they are described as ‘tall, thin, fierce-looking men’. This assertion
already begins to juxtapose the differences in physicality between the Indians
and the homesteaders. Throughout the chapter, the physical
differences between the Indians and the Ingalls, are referenced. These
differences include ‘smell’, clothing and hairstyles. These features only help to justify the Ingalls as being
superior and civilized in comparison to the Indians. One key
quotation describes the Indians faces as being ‘bold, fierce and terrible’ and that one ‘Indian did not move, not one muscle of his face moved’.
This can be related to Tavares’s comment that Indians are presented as ‘stoic
and unemotional’ and as a result lack character and depth.
American
Indians throughout ‘Little House on the
Prairie’ continue to be discussed in an insulting manner, with few attempts
made to properly represent Native Americans in a positive manner. The chapter
‘Indians in the House’ highlights these offensive representations by
juxtaposing American Indians with the Ingalls family.
Question: Although representations have somewhat
improved, what advice would you give a writer/director who is planning to write
or direct a novel/film with American Indian characters?
Bibliography
Primary Sources:
Wilder,
Laura Ingalls. Little House on The Prairie. 1935. London: Harper Collins Publisher
LTD. 2004
Secondary Sources:
Kilpatrick,
Jacquelyn. Celluoid Indians: Native Americans and Film. Nebraska: University
of Nebraska Press, 1999
Nittle,
Nadra Kareem. “5 Common Native American Stereotypes in Film and Television”.
About News, Febuary 28, 2016.
<http://racerelations.about.com/od/hollywood/a/Five-Common-Native-American-Stereotypes-In-Film-And-Television.htm>
Tavare,
Jay. “Hollywood Indians”. Huffington Post, July 18, 2011. <http://www.huffingtonpost.com/jay-tavare/native-american-actors_b_846930.html>
Young,
Brian. “Why I Won’t Wear War Paint and Feathers in a Movie Again” Time, June
11, 2015. <http://time.com/3916680/native-american-hollywood-film/>
Youtube:
a website featuring a variety of videos.
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