DOCUMENT RESUME ED 408 950 PUB DATE Jan 97
DOCUMENT RESUMEED 408 950AUTHORTITLEPUB DATENOTEPUB TYPEEDRS PRICEDESCRIPTORSIDENTIFIERSIR 018 363Vrasidas, CharalambosThe White Man's Indian: Stereotypes in Film and Beyond.Jan 979p.; In: VisionQuest: Journeys toward Visual Literacy.Selected Readings from the Annual Conference of theInternational Visual Literacy Association (28th, Cheyenne,Wyoming, October, 1996); see IR 018 353.Speeches/Meeting Papers (150)Evaluative (142)ReportsMF01/PC01 Plus Postage.American Indians; *Cultural Images; Film Production; *Films;*Labeling (of Persons); Popular Culture; Role Perception;*Social Bias; *Stereotypes*Native Americans; Visual RepresentationABSTRACTBefore the invention of film, a stereotypical perception ofNative Americans was embodied in art, fiction, and entertainment.Stereotyping of Native Americans can be categorized under three major themes:(1) the history of Native Americans compressed and portrayed under a singleperiod of time; (2) Native cultures interpreted through white values; and (3)the grouping of the more than 600 different Native American societies underone general category. Because of its ability to present moving images, filmplayed a major role in perpetuating the stereotypes of the Native Americansas riding horses, screaming, killing, and scalping people. Film, like anyother form of art, reflects the culture of the society and at the same time,contributes to that culture; it embodies the society's values, beliefs, andsocial structure and assists in transmitting culture to mass audiences. Mythsand stereotypes about Native Americans are alive today because television andfilm, as media with mass appeal, perpetuated misconceptions. Therepresentation of Native Americans in films was mostly restricted to onegenre, the Western. As a type of American mythology, the Western profited onthe myths which it perpetuated. A Senate subcommittee in 1969 conducted asurvey which found that white society characterized Native Americans as lazy,drunken, and dirty, which was concluded to be based on a history created bythe white man to justify his exploitation of the Native American. In order torestore the Native American's image, the myths and stereotypes on whichAmerica was built need to be confronted. (Contains 39 references.) *************************************Reproductions supplied by EDRS are the best that can be made**from the original ***************************************
The White Man's Indian: Stereotypes In Film And Beyondby Charalambos VrasidasAbstractThe image of Native Americans had been established long before film was invented, andwith a few exceptions, it has remained the same since then. Film, because of its visual natureand mass appeal, played a major role in perpetuating the misconceptions about the Natives.Some of the most popular images were the bad Indian, the good Indian and the noblesavage.One of the methods that white society employed in an effort to isolate the Native Americansand make them a weak minority in their own homeland, was stereotyping. Stereotypes werecreated for three main reasons: (a) to confirm the superiority of Western civilization, (b) toperpetuate the myths on which the American nation was built, and (c) to offer entertainmentthrough literature, art, and film. Stereotypes Were very entertaining, and therefore, profitable.Coming to AmericaPearce (1967) put it, "Americans wereWhen the first Europeans came tocoming to understand the Indian as oneAmerica they found a rich continent with alot of resources. Here they wanted to createa society similar to that in their countries inEurope. The only obstacle to their planswas the indigenous people. In the view ofthe European settlers the Native Americanswere hindering progress (Pearce, 1967).The Whites tried to civilize them and makeradically different from their proper selves;they knew he was bound inextricably in aprimitive past, a primitive society, and aprimitive environment, to be destroyed byGod, Nature, and Progress to make way forthe Civilized Man" (p. 4).them conform to the Whites' culture andInvention of FilmLippmann (1961) defined stereotypes as"pictures in our heads" (p. 3). Before wesee and experience the world, we take fromsociety pre-defined images of the world inthe form of stereotypes.Stereotypes,according to Marger (1994), are erroneous,overgeneralized images of groups of peoplewhich serve as the basis for severalImages and Stereotypes Before thevalues. Whites tried to educate the Natives,change their religion, and steal their land.Efforts to civilize the Natives were notsuccessful. Therefore, the only way forwhite society to solve its Native Americanproblem was to destroy the Natives(Berkhofer, 1978; Deloria, 1989; Pearce,1967).It was alright for Europeans tobecome savages in order to save civilization;a white civilization that was opposed to theNatives values and beliefs.prejudices.In multi-ethnic societies,stereotyping is one of the techniquesemployed by the dominant group in orderto maintain its dominance over subordinateThe differences between Western andNative American civilizations played asignificant role in the evolution of therelationship between the Whites and theindigenous people. "Indianness"andcivilization were, according to the Whites,two concepts opposed to each othergroups.Lippmannmystery, rather than on abstract scientificknowledge. As Deloria (1989) stated, "thecontinue to feel ourselves safe in thehemisphere produced wisdom;Europe produced knowledge"(p. 11). According to European Americans,white superiority, religion, and moralposition we occupy" (p. 96). According toLippmann (1961), any attackstereotypes is like an attackAs Roy HarveyOffice of Educational Research and Improvement63received from the person or organizationoriginating it.Points of view or opinions stated in thisdocument do not necessarily representthethevalues, and on our whole belief system.Before the invention of film, astereotypicalperceptionofNativeAmericans was embodied in art, fiction, andNative Americans and their culture. Whitessoon realized that it was impossible toMinor changes have been made toimprove reproduction quality.ononfoundations of our status in society, on oursystems should have prevailed over theEDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)This document has been reproduced asthattradition, and behind its defenses we canwesternwesternU.S. DEPARTMENT OF EDUCATIONclaimedprojection upon the world of our own senseof our own value, our own position and ourown rights . They are the fortress of our(Berkhofer, 1978).Native Americancultures were more based on simplicity andcivilize the "savages."(1961)stereotypes serve as the defense of ourstatus in society. More specifically hepostulated that stereotypes are "theBEST COPY AVAILABLE 2"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BYAlice D. WalkerTO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."
entertainmentshare his belongings with the settlers, was a1975;(Barnett,eventsbrave warrior, lived with simplicity, andFor aBerkhofer, 1978; Stedman, 1982).close to nature.long time, white society treated NativeThe noblesavage image of the Natives appeared in thecaptivity narrative because white societyrealized that it was responsible for the factidentity and became "white."attachment of Sitting Bull to the Buffalo BillCody Wild West Show (Churchill, Hill, &Hill, 1978). Stereotyping and the creationof myths was an approach employed bywhite society for justifying the stealing ofland from the Natives.Slotkin (1973) arguedthatthat the Natives were gradually becomingextinct (Barnett, 1975). The image of thebad Indian and the noble savage wereusually in coexistence.Churchill et al. (1978) identified threemajor themes under which stereotyping ofNative Americans can be categorized. Thefirst theme was, "the Native as a creature ofa particular time," mainly between 1800 and1880 (p. 47). This meant that thousands ofyears of history and civilization wereusually compressed to under a singlecentury. This period was a time duringwhich -the Natives were fighting for theirlives and their land. For the Whites, this"printedliterature has been from the first the mostimportant vehicle of myth in America"(p. 19). Themes of Whites fighting againstusuallyanddevils"the"redoutperforming them were essential forconfirming the superiority of whitecivilization. In fiction, Native American'sinferiority and savagery were constantlyjuxtaposed to the white man's " and prevailed over the NativeAmericans.According to Barnett (1975),period was a time of their victory oversavagery; it was the time of victory ofCottonWestern over Native American civilizations.Mather's (1699) Decennium Luctuosum isan example of early American fiction inwhich Native Americans are misrepresentedand stereotyped. Mather's main focus wasthe captivity theme under which whitesettlers were captured by the Natives. In thebook, Native Americans were paralleledwith wild animals and demons with veryThe second theme was "Native culturesinterpreted through white values" (ChurchillWhites had aet al., 1978, p. 47).completely different culture. Trying tointerpret Native American civilizationsthrough western culture's values can onlyTheseresult in misinterpretations.misinterpretations inevitably resulted in thecreation of numerous stereotypes. It wasstrong primitive instincts.Similar themes are abundant in the pre-convenient for white society to create aCivil War frontier romance, the dime-novels,Otherand nineteenth century fiction.fictitious Native American identity closer tothe white interpretation. This new identitywas the same for all the Natives regardlessof their tribal origin.examples from fiction come from JamesFenimore Cooper's The Leather StockingTales and included The Deers layer (1841),The Last of the Mohicans (1826), and ThePrairie (1827) (Pearce, 1967).The third theme was "Seen one Indian,seen 'm all" (Churchill et al., 1978, p. 47).North America contained more than 600different Native American societies whichwere speaking over two hundred differentThere were a number of stereotypicalcharacteristics depicted in works of fictionwhich Barnett (1975) called "red gifts"(p. 75). The body build, physical strength,height, excellent hunting and fighting skills,and the heavy accent were some of thosecharacteristics. In addition to these "gifts",Barnett (1975) and Berkhofer (1978)identified three major kinds of stereotypes.These were the bad Indian, the noblesavage, and the good Indian.The bad Indian wasvengeful, and immoral.Indians were abundanthostile,Usually, good were thoseNatives that gave up their culture andAmericans as objects of entertainment. Anexample of such treatment was thelanguages (Barnett, 1975, p. 72).distinct differencesamongtheTheNativeAmerican societies were never dealt withseriously. Instead, the perceptions of manypeople at the time, the Natives, no matter ofwhat culture and heritage were all "ignoblesavages".The themes and stereotypes described sofar were dominant in early Americansavage,Images of badfiction.By the end of the nineteenthcentury, the most favorite theme in popularfiction was the Native American fighting inthe Far West and dying in order forin the captivitygenre in early fiction. The good Indian wasusually friendly to Whites and was willing to643EST COPY AVAILABLE
civilizationtoproceed(Barnett,way.1975;The Power of the Moving ImageIn art, Native Americans had beensculptured or painted. In fiction they hadbeen described with words. When film wasinvented, Native Americans were shown onscreen, riding horses, screaming, killing,and scalping people. Because of its ability,to present moving images, film played amajor role in perpetuating the stereotypesof the Native Americans.thatculture.Itembodies the society's values, beliefs, andsocial structure and assists in transmittingculture to mass audiences. The complexrelationship between film and culture isexplained by Belton (1996) who stated thatthemyths onhelpedtoreinforcethe indigenous people. The frontier inWesterns was usually a place where anadvancing Europeanwould be justified without questioning themoral values of society (Cawelti, 1974). Asa product of nostalgia, the Western led theviewers in constructing an imaginarycivilization that attempted to replace thosecivilizations that were already in existence.The creation of a mythological Westjustified the seizure of land and thegenocide of the Natives. This inevitably ledto the formation of a new view of historynarrowconception of American life to which allgroups were expected to conform" (p. xi).Film was a major force in creating the idealimage of what an American should be.Film industry dictated how Americansshould behave, what they should believe in,and what they should look like.Many scholars pointed out that people'sperception of history are shaped to a greatwhich was mainly based on myths.The Western was a type of Americanextend by images presented in film andtelevision (Vidal, 1992; Seixas, 1994).civilization clashedIt provided a settingwhere the enjoyment of violent conflictwith "savagery."which theaFilm was, and still is, a very profitablebusiness, and like in any other business, themajor driving force is money. Stereotypeswere very entertaining, and as such, movieswith stereotypical characters were well likedamong the masses. Therefore, films withstereotypical themes were watched by bigaudiences, and consequently, were veryprofitable. Stereotypes were attached toseveral minority groups including AfricanLatinos,Asian-Americans,Americans,women, and Native-Americans.it was reasonable enough tostereotype Indians. Spears (1959) arguedthat the Western is a type of film that targetschiefly juvenile and unsophisticated minds.Hence, "it is natural that a stereotypedvillain should have been the majorrepresentation of the Indian" (p. 18).When the settlers began moving West, oneof the major obstacles they confronted wereAmerican nation was built. Miller (1980)argued that Hollywood films "became amajor transmitter of 'assimilationist' valuesandstereotypicalWestern"the movies are an integral part of massculture and are embedded within it. Onedoes not produce the other; rather, eachinteracts with the other, and they mutuallydetermine one another" (p. 1).The film industry has played a significantrole in shaping the perceptions of peopletowards different ethnic groups and inperpetuatingtheMythology of the Western GenreThe representation of Native Americansin films was mostly restricted to one genre,the Western. Because of the structure of theFilm, like any other form of art, reflectsthe culture of the society and at the sametopresentingminds becomes even more effective.miscreation of the Natives' image.time, contributesByimages of the Natives in an entertainingway, the shaping of the mass audiences'Stedman, 1982). When film was inventedthe situation became worse for the Natives.A new powerful medium was employed byWhites that continued the process ofmythology. The mythologies that exist in asociety are indicators of the nationalFormany people the two main sources ofinformation are movies and television.character.The myths that served as afoundation for the Western were reflectingthe white society's values, beliefs, worldview, and the desirable social structure.Slotkin (1973) argued that one of the majorforces that shaped mythology in Americawas the wilderness of the land and itsindigenous people. Another major forceMyths and stereotypes about NativeAmericans are alive today becausetelevision and film, as media with massappeal, played a major role in perpetuatingthe misconceptions about the Natives. Filmand television have the 'unique power ofreaching mass audiences in an entertaining65
was the need to control this wilderness andget rid of the indigenous people.In his book The American West in Film.Critical Approaches to the Western, Tuska(1985) identified seven basic plots aroundwhich the Western developed. One of theseplots was the 'Indian story." According tothis plot, "an Indian, an Indian tribe, orseveral Indian nations are either theprincipal focus of the story or the principalmotivation of the actions of other charactersGenerally the law ofthe story.miscegenation has applied, so while a whiteinman might marry an Indian woman, shecomes to die in the course of the story.Rarely . an Indian woman might live andride off with the hero; and even more rarelya white woman might choose to live with anIndian male and survive the end of thepicture" (p. 31).An example of the above plot is themovie The Searchers (1956) which wasbased on Robert Montgomery Bird's NickAfterof the Woods, written inspending five years with a Native Americanchief, the white woman is "rescued" and the1837.chief is killed.Very powerful was thebuilding and perpetuating the stereotypesof Native Americans. D.W. Griffith, who isregarded as one of the first greatest filmdirectors, shot many films in which IndiansOccasionally,weretheprotagonists.individual Natives were depicted as "good"but the group was always presented as"evil." Bataille and Silet, (1980) cited TheRedman and the Child (1908), Ramona(1910), and The Battle at Elderberry Gulch(1913) as examples of such films.Very rarely did filmmakers use realNative Americans in their work. Becausethe Native Americans were the "savages,"they have often been portrayed by stars ofhorror films like Bela Lugosi and Lonal.,et1978).(ChurchillChaneyOccasionally, when real Natives appeared infilms, they were mainly used as props tohelp create the appropriate atmosphere.Examples of the few successful NativeAmerican actors are Willie Rogers, ChiefDan George, Willie Sampson, and GrahamGreene.Aleiss (1991) argued that one of the fewfilms ever made about Native Americanswhich depicted them sympathetically was(1925).AmericanVanishingAlthough a silent film, The Vanishingdilemma that the Whites were facing before'rescuing the white woman. Should she alsodie? After all, she lived with the savage forfive whole years. Can she still be white?Questions of this nature were prevalent inmany other Westerns.The period during which most of Westernplots take place, was from 1860 to 1890,TheAmericans had been either killed or placedon reservations. The Western genre was oneof the most favorable among the massesand served as an everlasting source ofdepiction of the misguided reservationsystem as in its ability to reveal thefrustration of a society unable to resolve itsIndian Problem" (p. 468).From the time of WWI and on, thenative's image became very popular in film,Brief Historical Overview of Imagesand for the next thirty years it remainedbecause by 1890 most of the Nativemyths on which a whole nation was built.of Native Americans in FilmFrom the beginning of film history, therewas already a large pre-existing body ofimages and stereotypes attached to theNative Americans. Filmmakers drew theirmaterial from the stereotypes that existed inpopular culture. Native Americans appearedon the screen with the very beginning offilm history. According to Bataille andSilet (1980), short films such as SiouxGhost Dance (1894) and the Parade ofBuffalo Bill's Wild West Show (1898) wereshown by Edison's coin-operated machines.Great early American directors like D.W.Griffith, played a significant role inBEST COPY AVAILABLEAmerican is one of the film industry's mostpowerful depictions on white society'sexploitation of Native Americans. The filmpresented a very negative image of theThe importance of TheVanishing American, according to Aleiss(1991), "lies not so much in its accuratemissionaries.unchanged. Film images represented theNative American often as lazy, savage,drunken, heathen, usually male, with nospecific tribal characteristics and with nofamily relationships (Bataille & Silet, 1980;Berkhofer, 1978). There was a seriousreason for why most of the times the NativeAmerican in the movies was male. AsDeloria (1989) argued, Native Americanmales have "too much of the aura of thesavage warrior, the unknown primitive, theinstinctive animal" (p. 3). This associationof male Natives with savagism was veryconvenient for the Whites. It allowed theNative American's hostility towards Whites
In the movie Duel in Diablo (1966),to be explained in terms of the Natives'directed by Ralph Nelson, the savagery ofthe Natives is also punished. One of themain ideas portrayed in the film was thatthere is nothing that can change the NativeAmericans from being savage. Therefore,animal instincts and only rarely in terms ofa reaction to the white man's exploitation ofthe Natives.Between 1951 and 1970 at least 86 NativeAmerican-Vs-U.S. cavalry films wereproduced and all of them were based onthey have to bemovieBefore the 1970s, there were only fewfilms that treated Native Americans in asympathetic way. One of these films wasDelmer Daves' Broken Arrow which wasreleased in 1949. The story was about anAmericans. However, none of those treatieswas ever kept (Deloria, 1989). Very rarely,were the issues of treaties dealt with by thefilm industry in a way that would shed lighton U.S. government's dishonesty.The violence depicted in the Western wasa great selling point. War themes evolvedApache Chief and an ex-army officer whowere trying to bring peace among theNatives and the settlers. It was the "firstpicture that asked audiences to take thearound the conflict between Whites andhad a strongTheAmerican society.treaties and agreements with the Native"savages" andkilled.postulated that there is no place for theNatives neither on the reservations nor inpre-existing stereotypical themes (Churchillet al., 1978). The war theme was always aUnited Statesfavorite subject. Thegovernment signed more than four hundredIndian's side," and for this reason theAssociation on American Indian Affairs"gave it a special award" (Spears, 1959,appeal toaudiences. By depicting human conflict atits utmost, war films are very emotional andp. 25-26).engaging for the audience (Watt, 1988).Therefore, war films are well liked andwatched by the masses. Stedman (1982)Although there was a moresympathetic depiction of the NativeAmericans in this film, Broken Arrowlacked authenticity. Spears (1959) arguedthat the leader of the Apache was dignifiedpointed out a parallel between the soldierVs-Native American movies with World WarII movies; the Natives, like the Japanese andin a way that "he resembled a Harvardgraduate more than an illiterate savage"the Germans, needed to be exterminated.With the beginning of WWII the focus ofthe film industry turned towards makingfilms about the war. Consequently, duringthis period the number of movies about(p. 31).During the late 1960s and early 1970sthere was an obvious change in the politicaland social situation in the U.S. mainly dueto the Civil Rights movement and to thecountry's intervention in Vietnam. This wasa period of awakenings in Americansociety. The genocide in Vietnam resultedin the reconsideration of the Natives'genocide on U.S. soil. Films like Tell ThemNative Americans declined.One of the most anti-Indian films evermade was John Ford's The Searchers(1956). The plot centers around the searchfor a little girl that was taken byCommanches, after they murdered herfamily. Ford portrayed the insanity thatresulted from being captured by the NativesWillie Boy is Here (1969), A Man CalledHorse (1970), Little Big Man (1970), andSoldier Blue (1970), indicated this shift ofattitudes towards the Native Americans.Still, all these films have done very little inbreaking the stereotypes and restoring theNatives' image.Arthur Penn's Little Big Man (1970) alsoreceived some good reviews in regards toof Nativefilm's representationtheAmericans. Chief Dan George, a NativeAmerican actor, rises to an important figurein the film. The killing of Custer and hisand he deliberately justified the killing ofNatives. Actor Jeff Hunter played the roleof Martin, the "half-breed" cousin ofDebbie who was kidnapped. Martin, alongwith Debbie's uncle Ethan, played by JohnWayne, spent most of the time in the filmtrying to rescue Debbie. In a very powerfulscene, the hatred towards Native Americansis expressed by Ethan, who shoots a deadNative in both eyes. He then said that theCommanche warrior "will have to wandertroops is presented as a justified revenge forthe atrocities the U.S. Cavalry hadforever between the winds" and he willrepeatedly committed against the Natives.George Armstrong Custer is presented as an"insane maniac". This depiction of Custerwas in contrast to the glorified heronever be able to enter the spirit land. ByusinganactorwithJohnWayne'smagnitude, Ford managed to justify thekilling of the Natives.67
portrayed by Errol Flynn in They Died WithTheir Boots On (1941). This illustrates howthe treatment of a Native American subjectproblems. In most instances, the audienceMichael Mann's adaptation of the JamesFenimore Cooper classic, The Last of theMohicans (1992) and Kevin Costner'sAmerican children to "cheer the cavalryin the 1940s is different compared to thetreatment of the same subject in the 1970s.Dances with Wolves (1990), are some recentfilms that deal sympathetically with NativeAmericans. This does not mean that theyare authentic. Commenting on Dances withWolves, Seals (1991) argued that the filmpresented Native Americans as being "verypoetic and nature-loving" (p. 634).Furthermore, he pointed out that the men inthe film "speak Lakota in the feminineform," and this because the screenplay "wastranslated by a woman, who also served asthe primary linguistic coach" (p. 637).The documentary film Incident at Oglala(1991), and the feature Thunderheartwatches them getting killed because of the"crimes" theysince they did not want to identify withNatives because most of the times they werethe losers (p. 49).John Ford's The Searchers (1956) wasused in a study conducted by Shively(1992). This study attempted to examinesociological models of how people use andinterpretassumption behindsubcommitteein1969Images presented in movies are dominant inpopular culture and they shape many otherConsequently,forms of representation.images of the Native Americans in Westernsplayed a significant role in perpetuating thepreconceptions about North America's firstinhabitants.The image of the Native Americanwarrior had a strong influence in popularculture. Some of the many examples of theuse of the native's warrior image arestudy on Native American education. Afterspending more than two years researching,the members of the committee found that towhite society the Native American's imagewas the stereotypical lazy, drunken andthe committeebasis of thesestereotypes goes back into history - ahistory created by the white man to justifyFurthermore,dirty.concluded that "thehis exploitation of the Indian, a history theIndian is continually reminded of at school,on television, in books, and at the movies"(Committee on Labor and Public Welfare,1969).Native Americans, with few exceptions,were never dealt as humans, people withownhistory,civilization,comics, cartoons, names of sport teams(Black Hawcks, Braves, Redskins), andmilitary equipment (Iroquois helicopters).The fans of baseball team Atlanta Braves,use a "so-called Indian war chant" tosalute their team and evoke images ofsavagery (Marger, 1994, p. 170).and68BEST COPY AVAILABLEstudy was thatThe impact of the Western on Americanculture was tremendous because it waswidely viewed. Before the 1970s, theWestern was a very well liked form ofentertainment. Cawelti (1971) found that inChicago during .1967, four major channelscombined, were showing an average ofeighteen hours of Western films per week.conducted a survey, which was part of atherethisNative Chief Scar, not even the Natives.problem.SenatehowNone of the participants identified with theargued that, because these films did notreceive the publicity that Dances withWolves did, indicated that white societyrefuses to deal with its Native AmericanAandidentify the most? "60 percent of theIndians and 50 percent of the Whitesidentified with John Wayne, while 40percent of the Indians and 45 percent of theWhites identified with Jeff Hunter" (p. 727).Thunderheart also deals with the events atPine Ridge and presents an inside view ofWalton (1995)the reservation system.Impact of Stereotypesmaterialsviewers interpret movies according to theircultural experiences. One of the questionsthat the participants were asked after theyviewed the film was: With whom did youkilled.wereagentsculturalminorities deal with cultural myths of thedominant culture. The participants in thisstudy were 20 Native males and 20 Whitemales living on a reservation. Both groupswatched the movie The Searchers. Thethat make strong political statements aboutthe exploitation of Native Americans by theThe Incident atfederal government.Oglala centers around the uprising at PineRidge Reservation in 1975, during whichfederalConsequently,when watching television or at the movies",(1992) are two examples of recent filmstwocommitted.according to Churchill et al. (1978), by the1950s it was more than natural for Native7The
image of the Native American warrior wasalready established and it was associatedwith strength and vigor. Therefore, it wasjustifiable to name military equipment andsports teams after Native American tribes'Bataille, G. M. & Si let, C. L. P. (1980). Theentertaining anachronism: Indiansin American film. In Miller, R. M.(Ed.), The kaleidoscopic lens. HowHollywood views ethnic groups(p. 36-53). Englewood, NJ: Jeromenames.ConclusionThe film industry has played a ng of the image of the NativeAmericans. There are a few exceptions tothe rule, but still the film industry has along way to go for a more realisticdepiction of Native Americans in film.Even the films that are supposed to bedealing sympathetically with the Natives are
Images and Stereotypes Before the. Invention of Film Lippmann (1961) defined stereotypes as "pictures in our heads" (p. 3). Before we. see and experience the world, we take from society pre-defined images of the world in. the form. of. stereotypes. Stereotypes, according to Marger (1994), are erroneous, overgeneralized images of groups of .
Speakout Pre-intermediate Students’ Book and DVD/ Active Book 978 1 408 21932 4 Active Teach 978 1 408 21675 0 Class CD (x3) 978 1 408 21673 6 Teacher’s Book 978 1 408 21680 4 Workbook with Key and Audio CD 978 1 408 21674 3 Workbook no Key and Audio CD 978 1 408 21682 8
AAM 2021 Advertising Media Kit For more information e-mail aamad@adboomadvertising.com or call 404-347-1755 5 2021 Museum Magazine Advertising Rates AD SIZE 1X 3X 6X Full Page 3,950 3,450 2,950 Cover 4 4,950 4,450 3,950 Covers 2, 3 and Opposite Cover 2 (pg 1) 4,750 4,250 3,750 Ad/Advertorial Spread 4,950 4,450 3,950 *Rates are per .
Front matter.indd 9 21/09/2011 17:00. 10 PRIMARY Welcome to Primary Place, your place to find high- . CYLET, and Pearson Test of English Young Learners. . 978 1 408 28548 0 978 1 408 28549 7 978 1 408 28543 5 978 1 408 28542 8 Level 2 978 1 408 285
training 408.40132(3) No one on site was first aid certified 408.40622(1) No hard hats 408.40045(12) Steep roof with no use of fall protection 408.41121(3)(a) Split side rails of ladder 408.41124(5) Ladder not extended 3 feet past landi
ENGLISH AS A SECOND LANGUAGE 0465 D 1,950.00 3214 5020 MATHEMATICS 0466 1,950.00 3214 5020 BIOLOGY 0467 GX 1,950.00 3214 5020 CHEMISTRY 0468 GX 1,950.00 3214 5020 PHYSICS 0469 GX 1,950.00 3214 5020 . Cambridge IGCSE 9-1 in code order Subject Name Syllabus Option Normal Fee (EGP) Late Stage (EGP) . G
RUSS BUTLER Vice President, Security Email russ.butler@49ers.com Office 408.673.2077 Cell 408.800.8401 MIKE ANDERSON Director, Team Security Email mike.anderson@49ers.com Office 408.673.2039 Cell 408.220.4732 EQUIPMENT PHOTOGRAPHY MEDICAL FOOTBALL COMMUNICATIONS HUMAN RESOURCES SECURITY TERRELL LLOYD Senior Manager, Photograph Services
Servo Chatter March 2011 Page 2 President* Michael Luvara 408-292-1212 mike@sccmas.org Secretary* Dean Sala 408-244-2153 secretary@sccmas.org Treasurer* Jim Patrick 408-356-0817 treasurer@sccmas.org At Large* Don Coulter 408-690-3830 skyd
Nov 15, 2020 · Morgan Hill, CA 95037 (408) 779-3959 Fax: (408) 779-0289 www.stca.org Email: Office@stca.org Catechetical Ministry (408) 779-9604 Youth & Confirmation Ministry (669) 270-0003 St. Catherine School (408) 779-9950 www.stcatherinemh.org Saint Catherin
