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When it comes to film, Native Americans tend to get the short end of the stick. They are rarely ever the main focus of films, tending to be placed in either the background of movie sets or playing the stereotypical, occasionally villainous, savage; as seen in the very lucrative and popular Western genre. In other words, Native Americans, in a majority of cinema, do not have the most honest portrayal. Resulting in the mainstream public having the wrong impression of Native Americans and reinforcing the harmful stereotypes that plague them. Not only that, there is also the issue of filmmakers not choosing Native actors for Native roles, reinforcing the practice of pushing Native Americans further into the background. Which is a very unfortunate occurrence, because filmmakers are missing out on telling stories based on the very real, very intriguing, and very tragic history of Native Americans in America; post Manifest Destiny or The Trail of Tears. Though thankfully, there are a few filmmakers who have or are breaking away from the usual treatment of Native Americans in film.

Aside from the savage personas most films commonly use to portray Native Americans as, there is also the issue of portraying real Native American tribes, and their culture’s stories as something more fictional than actually being real. Taking creative liberties with the culture in order to create a more entertaining narrative for a film’s story. Further reinforcing in the many inaccuracies regarding Native American culture: their customs, lifestyle, and history. This appropriation is not only damaging to Native Americans personally, but also to the image that the general public has of them. Because Native Americans are either seen as the typical savage in film, or as a being with spiritual gifts or powers. Now while those portrayals may make for an entertaining film to some, they can also have negative side effects for a real group of people who have been mistreated throughout history. However, there are films, released and in production, that do touch on the real history of Native Americans. The struggles that they had to face, such as assimilation or urban relocation, and even the struggles that are still an ongoing occurrence or issue, like sexual violence. This type of treatment is not only more respectful than the stereotypical portrayals, but also introduces or reiterates the reality that Native Americans had or have to live in, to the general public. Although this does not completely repair the image of Native Americans in cinema, it is a step in the right direction.

Speaking of image or appearances, many of the Native American representation in film occurred in Westerns; which popularized many Native American stereotypes: living in teepees, savage appearances, and scalping enemies. Westerns also had a hand in starting the practice of using red race for Native American characters, which helped ensure actual Native American actors stayed within the background of films; out of sight out of mind. Although this short cut may have cut a bit of time on the casting side of filmmaking, it also took away acting opportunities from Native American actors, and broke the authenticity of a film. However, the bright side to this break in authenticity is that it encouraged future directors to not go in the same direction. Especially when they wanted to make a film that touched on the real struggles Native Americans have or still do face. And by not doing the red face short cut, it allowed Native American actors a chance at leading or major roles within a film, as well as made the films themselves more believable; since they are using real Native Americans. This disregard for red face also allows for a better connection between the issues regarding Native Americans that the film presents, as well as allows any Native American viewers to relate to the film much better than if it were an actor in makeup.

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Native Actors for Native Roles (Wind River)

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Native Actors for Native Roles (Wind River)

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https://www.nytimes.com/2017/08/01/movies/wind-river-native-american-actors-casting.html

Kevin Noble Maillard briefly discusses the casting process for Native American characters in the 2017 film, Wind River. Director and writer Taylor Sheridan, was very adamant about casting Native actors for the Native roles. So much so that if an actor could not prove their authenticity, they would not be allowed to read for any of the roles. Although this may have made casting a little challenging, in terms of blood quantum, by doing this Sheridan was able to avoid a common practice with Native American characters in film: red face. Which was a popular habit in Westerns. Another reason why Sheridan wanted Native actors for the roles is because he was working with real issues that involved Indian Country. And he did not want to disrespect the burdens of those issues by casting actors who did not have any sort of connection to them. Sheridan was striving for authenticity because he wanted to tell a real story about real issues and experiences. So in order to do that, he avoided shortcuts like red face. Sheridan displayed the type of care and respect that all directors should have when dealing with Native Americans in their work. Although it may take some extra work, the film will be all the better for it, and it will also set a good example to future directors.

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 “Legacy of Exciled NDNZ” and the film that inspired my work, “The Exiles”

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 “Legacy of Exciled NDNZ” and the film that inspired my work, “The Exiles”

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https://medium.com/@pamelajpeters/legacy-of-exiled-ndnz-and-the-film-that-inspired-my-work-the-exiles-ef8bdce0446d
Inspired by the Native American Documentary/Drama, The Exiles, Pamela J. Peters creates her own film set in Los Angeles during the 1950’s. Like The Exiles, Peters film, Legacy of Exiled NDNZ, focuses on the lives of Natives through the Indian Relocation program. Aside from recounting her film’s production, Peters also takes a moment to inform her readers about the Relocation Era. An era of assimilation that enticed young Natives to relocate to major populated cities for better job opportunities and housing. One of the reasons Peters decided to make her film, and why Kent Mackenzie also made The Exiles, was because of the Native American stereotypes found in popular Westerns. These two directors wanted films that depicted Natives authentically. They wanted the public to see Natives, not as the one dimensional characters portrayed in Westerns, but as real people during the Relocation Era. They wanted to shed light on this era of Native American history. Just as Peters and Mackenzie did, instead of re-enforcing Hollywood’s stereotypes, modern filmmakers should break them down; throw them out. Using their platform to instead showcase or represent the real history of Native Americans.

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http://www.burkemuseum.org/static/truth_vs_twilight/facts-01.html

Run by the Burke Museum of Seattle Washington and written by Deana Dartt-Newton, the Curator of Native American Ethnology at the museum (until 2016), this article reveals the misunderstanding and appropriation of the Quileute tribe at the hands of the popular film series, Twilight. The article also provides accurate information regarding the Quileute tribe and their customs, in order to replace the inaccuracies passed on by the Twilight film series. Although the tribe is split on their sudden popularity brought on by Twilight, it can not be denied that the film series did wrong by the Quileute Tribe by suddenly throwing them into the spotlight, taking creative liberties with their customs, and even having to negotiate rights with the tribe regarding their own culture.Twilight is a wonderful example of what not to do when dealing with Native American Culture and representing a real tribe iin film.

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Sterlin Harjo is among the writers of ‘Bright Path: The Jim Thorpe Story’

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Sterlin Harjo is among the writers of ‘Bright Path: The Jim Thorpe Story’

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Article: https://www.tulsaworld.com/scene/movienews/new-jim-thorpe-movie-will-be-a-story-that-tulsa/article_50682011-db0b-5463-bcd7-9d5baf64de2b.html
Alongside Angelina Jolie, Sterlin Harjo—an independent Native American filmmaker—helps to create a film focusing on the life of another important Native American: Olympic gold medalist, Jim Thorpe. Growing up with much admiration for Thorpe, Harjo was elated to be offered the chance to rewrite Bright Path’s script. A chance he received thanks to Martin Sensmeier, a Native American actor who has appeared in HBO’s popular series Westworld, and the critically acclaimed film Wind River. By having Harjo and Sensmeier on set, Bright Path seems to be taking the right first steps on Native American representation in film. And based on Harjo’s hints about the script, the film will be highlighting Thorpe’s achievements, as well as his struggles while attending Carlisle Indian School. With that in mind, Bright Path will not only be re-introducing a Native American gold medalist to the world, but also revealing the hard truth about assimilation, and what it was like growing up Native in America.

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Why I Won’t Wear War Paint and Feathers in a Movie Again

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Why I Won’t Wear War Paint and Feathers in a Movie Again

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Article: http://time.com/3916680/native-american-hollywood-film/
Navajo filmmaker, Brian Young, expresses his concerns over the stereotypical portrayal of Native Americans in mainstream films. Both new, The Ridiculous Six, and old. Young also touches on the issue of Native American actors being placed primarily in the background of many mainstream films. Due to the poor, inaccurate, and stereotypical depictions of Natives in film, as well as the mistreatment of the actors, Young believes that these promote ignorance within the viewers about his culture. An ignorance which Young himself growing up had to experience firsthand. Instead of portraying Native Americans as uncivilized savages, reinforcing the stereotypical portrayals, filmmakers should strive to promote a more accurate image; instead of falling back on the harmful overused ones.