Philbert Bono and Buddy Red Bird are about to prove that the spirit of the great warriors is still alive and kicking. Their “war pony,” a burned-out, rusty 1964 Buick LeSabre, has left a trail of dust from Montana’s Lame Deer Reservation halfway down Interstate 25 as they take off to bail Buddy’s sister out of jail. The basis for the great movie of the same name, this quiet debut novel, first published in 1979, has become a classic of American Indian literature.

A photo essay on the pan-Indian celebration called a powwow, this particular one being held on the Crow Reservation in Montana.

Offering both in-depth analyses of specific films and overviews of the industry's output, Hollywood's Indian provides insightful characterizations of the depiction of the Native Americans in film. This updated edition includes a new chapter on Smoke Signals , the groundbreaking independent film written by Sherman Alexie and directed by Chris Eyre. Taken as a whole the essays explore the many ways in which these portrayals have made an impact on our collective cultural life.

Standing at the intersection of Native history, labor, and representation, Picturing Indians presents a vivid portrait of the complicated experiences of Native actors on the sets of midcentury Hollywood Westerns. This behind-the-scenes look at costuming, makeup, contract negotiations, and union disparities uncovers an all-too-familiar narrative of racism and further complicates filmmakers' choices to follow mainstream representations of "Indianness." Liza Black offers a rare and overlooked perspective on American cinema history by giving voice to creators of movie Indians--the stylists, public relations workers, and the actors themselves. In exploring the inherent racism in sensationalizing Native culture for profit, Black also chronicles the little-known attempts of studios to generate cultural authenticity and historical accuracy in their films. She discusses the studios' need for actual Indians to participate in, legitimate, and populate such filmic narratives. But studios also told stories that made Indians sound less than Indian because of their skin color, clothing, and inability to do functions and tasks considered authentically Indian by non-Indians. In the ongoing territorial dispossession of Native America, Native people worked in film as an economic strategy toward survival. Consulting new primary sources, Black has crafted an interdisciplinary experience showcasing what it meant to "play Indian" in post-World War II Hollywood. Browse the author's media links.

An overview of Indian representation in Hollywood films. The author notes the change in tone for the better when--as a result of McCarthyism--filmmakers found themselves among the oppressed. By an Irish-Cherokee writer.

Philbert Bono and Buddy Red Bird are about to prove that the spirit of the great Cheyenne warriors is still alive and kicking. Their "war pony," a burned-out, rusty, '64 Buick LeSabre, has left a trail of dust from Montana's Lame Deer Reservation halfway down Interstate 25 toward New Mexico. It's a journey of enlightenment, a quest for greatness ... and it just might be one of the wildest, funniest, most outrageous rides you've ever been on-a beer-guzzing, joint-smoking, staggering gallop down that twisting road to self-discovery ...

The lives of Indigenous peoples have long been framed for the outside world by others' cinematic gaze. But during the past thirty years, North America's Indigenous image-makers, particularly in Canada, have used the changing technologies of film, video, television, and computer to present their peoples' histories, identities, and perspectives. This edited collection of essays, conversations, and interviews combines Indigenous and non-Indigenous voices as it sets changing representations of Indigenous people on screen against broader socio-cultural, ideological, and economic considerations.