部落采购西南电影公司

Melissa Dollman, Rhiannon Sorrell, Jennifer L. Jenkins
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摘要

作为一项正在进行的工作,“部落资源西南电影项目”试图通过记录文化内部人士的反叙述,使有关美国西南部土著人民的本世纪中叶美国教育电影去殖民化。这些电影来自美国印第安人电影画廊,该画廊于2011年授予亚利桑那大学(UA)。制作于二十世纪中期的美国K-12教育和电视市场,这些16毫米柯达胶卷反映了当天的主流文化态度。尽管男性“上帝之声”的叙事常常不准确或不尊重,但色彩饱满的视觉叙事在很大程度上还是相当引人注目的。在这段历史的距离中,许多电影被土著社区内部人士和外部学者理解为文化习俗和生活方式的记录,实际上是语言的记录,这些记录随着实践者和说话者的传承而逐渐消失。Tribesourcingfilm.com项目旨在通过协作的数字干预来重新平衡历史记录,有意将重点从对土著人民的外部看法转移到电影中所代表的民族的声音、知识和语言上,通过参与记录电影的新叙述。当地的叙述者为电影录制新的旁白,积极地将这些收藏去殖民化,并通过复古视觉和新音频的融合来进行信息纠正。
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Tribesourcing Southwest Films
As a work in progress, the Tribesourcing Southwest Film Project seeks to decolonize midcentury US educational films about the Native peoples of the Southwestern United States by recording counter-narrations from cultural insiders. These films originate from the American Indian Film Gallery, a collection awarded to the University of Arizona (UA) in 2011. Made in the mid-twentieth century for the US K–12 educational and television markets, these 16 mm Kodachrome films reflect mainstream cultural attitudes of the day. The fully saturated-color visual narratives are for the most part quite remarkable, although the male "voice of God" narration often pronounces meaning that is inaccurate or disrespectful. At this historical distance, many of these films have come to be understood by both Native community insiders and outside scholars as documentation of cultural practices and lifeways—and, indeed, languages—that are receding as practitioners and speakers pass on. The Tribesourcingfilm.com project seeks to rebalance the historical record through collaborative digital intervention, intentionally shifting emphasis from external perceptions of Native peoples to the voices, knowledges, and languages of the peoples represented in the films by participatory recording of new narrations for the films. Native narrators record new narrations for the films, actively decolonizing this collection and performing information redress through the merger of vintage visuals and new audio.
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