Indigeneity and the Decolonizing Gaze

Robert Stam is University Professor at New York University, USA. He has authored, co-authored, and edited nineteen books on film and cultural theory, national cinemas, politics and aesthetics, and comparative race and postcolonial studies. His books include: Reflexivity in Film and Literature (1985,1995); Brazilian Cinema (1982);Subversive Pleasures:(1989); Tropical Multiculturalism (1997); Film Theory: An Introduction (2000); Literature through Film (2005); Francois Truffaut and Friends (2006); Keywords in Subversive Film/Media Aesthetics (2015); and World Literature, Transnational Cinema,and Global Media: Towards a Transartistic Commons (2019) He is co-author, with Ella Shohat, of Unthinking Eurocentrism (1994) Flagging Patriotism; (2006); and Race in Translation: (2012); He has taught in France, Tunisia, Brazil, Germany, and Abu Dhabi. His work has been translated into more than 15 languages.

Acknowledgments
Introduction
The Terms of Debate
A 1492 Project: Conquest and Discovery
The Protocols of Anti-Indigenism
The Sacred Land
Native Arts and Aesthetics
Indigenous Media

Chapter One: From France Antartique To Shamanic Critique: The Tupinization Of Social Thought
France Antartique and Tupi Theory
Filming France Antartique
Montaigne and Tupi Theory
From France Antartique to the Carib Revolution
From the French Philosophes to the American Revolution
The French Missions, Lévi-Strauss, and the Indian
Pierre Clastres, the Anarchist Indigene, and the Wari
The Franco-Brazilian Dialogue and the Politics of The Falling Sky

Chapter Two: The Indigenous “Cunhã:” The Metamorphosis of a Gendered Trope
The Tupinization of Manhattan
The “Cunhã” as Filmmaker
The Cunhã as Myth: Paraguaçu
Caramuru: The Invention of Brazil
The Filmic and Televisual Cunhã
The Cunhã Degraded
The Cunhã as Warrior
The Cunhã as Forest Princess
The Cunhã as Hyper-Woman
The Ecological Cunhã
The “Cunhã” as Activist/Artist
Myths of Extinction: The Return of the Vanished Indigene

Chapter Three: The Transnational “Indian”
Land and the Frontier Western
Going Native
Europe’s “White Indians”
The Indian Hobbyists
Transmedial Indigeneity
The Strategic Uses of Humor
Painterly Tricksterism
Indigeneity and Music
First Peoples, First Features
Indigenization of Horror

Chapter Four: Cross-National Comparabilities: The Indigenization Of Brazilian Media
Centennial Commemorations and First Contact Films
Variations on a Westward Theme
Proto-Indigenist Cinema in Brazil
Indigenous Media in Brazil
Video nas Aldeias
The Archival Turn
Corumbiara: on the Trail of Massacres
The Guaraní and Contrapuntal Narration
The Martyrdom of the Guaraní-Kaiowá
The Transmediatic Indigene of Popular Culture

Chapter Five: Triumphs and the Travails of the Yanomami
Juan Downey and “The Laughing Alligator”
Crossed Filmic Gazes
The Poetics of The Falling Sky
The Cinematic Imaginary of the Yanomami
Cinematizing Shamanism: Xapiri
The Last Forest

Conclusion: The Theoretical Indigene: Becoming Indian, And The Elsewhere Of Capitalism

Colonial Ambivalence and the Transnational Gaze
Transformational Becomings
From Republican Constitutions to the Carib Revolution
The Theoretical Indigene
Indigeneity and the Postcolonial Left
Before and After the Nation-State
Postcolonialism and the Nurture of Nature
The Fear of a Red Academe: Indigenous Decoloniality
The Power of Shamanic Critique
Capitalism vs. the Planet
The Transnational Trope of Indigenous Happiness
Coda



Index