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YERLİ HAYALETLER: THE BUSINESS OF FANCYDANCING

Year 2023, Issue: 22, 101 - 126, 02.10.2023

Abstract

Yüzyıllar boyunca tekrarlanarak kemikleşen Yerli stereotipleri, Yerli halkları ortadan kaldırılması gereken barbarlar ya da soylu vahşiler ikiliğine hapsederek Yerli failliğine el koymuştur. Çalışmanın amacı, egemen kültürün Yerlilere yönelik kurumsal ve toplumsal düzeydeki stratejileri ile Yerli toplumunun geliştirdiği direniş ve hayatta kalma stratejilerinin tarihsel-toplumsal çerçevede karşılaştırmalı olarak tartışılmasıdır. Yerli halkların tarihi ve sömürgeciliğin çağdaş Yerli sineması üzerindeki etkisi, kurumsal politikalar, güç ilişkileri ve sosyal pratikler üzerinden incelenmekte, egemen anlatı, sömürgeci bilgi setleri ve temsiller karşısında Yerli kolektif hafızası ve karşı anlatısı merkeze yerleştirilmektedir. Sherman Alexie’nin filmi The Business of Fancydancing (2002), rezervasyondaki geçmişi ve kentteki yaşamı arasında Yerli kimliğinin farklı yönlerini uzlaştırmaya çalışan ana karakterin öyküsü aracılığıyla çağdaş Yerlilerin hayatta kalma mücadelesini anlatmaktadır. Sherman Alexie’nin filmi örneğinde Yerli sineması, Yerli halkların kültürlerini, kimliklerini ve tarihlerini görsel-işitsel üretim yoluyla keşfederek Yerli olmanın çağdaş yollarını müzakere ettikleri bir mücadele alanı olarak ele alınmıştır. Alexie, egemen kültürün sömürgeleştirme etkisiyle mücadele etmek için ona katılım yolunu seçer; şiirlerini, öykülerini ve filmlerini bağlantılı direniş alanlarına dönüştürür.

References

  • Alexie, S. (1996). Inside Dachau. The Beloit Poetry Journal, 46(4), 12-16.
  • Alexie, S. (2002). The Business of Fancydancing [Film]. FallsApart Production.
  • Barclay, B. (2003). Celebrating Fourth Cinema. Illusions, 35, 7-11. https://www.academia.edu/4905111/Printed_in_Illusions_Magazine_NZ_July_2003_CELEBRATING_FOURTH_CINEMA
  • Barclay, B. (2015). Our own image: A Story of a Maori filmmaker. University of Minnesota Press.
  • Bird, G. (2011). The exaggeration of despair in Sherman Alexie’s Reservation Blues. L. Lewis (Ed.), Critical insights: Sherman Alexie içinde (ss. 288-304). Salem Press.
  • Blanchard, P. (2016, 26 Temmuz). Vahşinin icadı (A. Artun, Çev.). Skop Bülten. https://www.e-skop.com/skopbulten/pasajlar-vahsinin-icadi/3011
  • Cariou, W. (2006). Haunted Prairie: Aboriginal 'Ghosts' and the spectres of settlement. University of Toronto Quarterly, 75(2), 727-734. https://doi.org/10.3138/utq.75.2.727
  • Cox, J. (1997). Muting white noise: The subversion of popular culture narratives of conquest in Sherman Alexie's fiction. Studies in American Indian Literatures, 9(4), 52-70.
  • Deloria Jr., V. (1988). Custer died for your sins: An Indian manifesto. University of Oklahoma Press.
  • Dippie, B. (1982). The vanishing American: White attitudes and U.S. Indian policy. University Press of Kansas.
  • Dowell, K. (2006). Indigenous media gone global: Strengthening Indigenous identity on- and offscreen at the First Nations\First Features film showcase. American Anthropologist, 108(2), 376-384. https://doi.org/10.1525/aa.2006.108.2.376
  • Erdrich, L. (1993). Love medicine. Harper Perennial.
  • Farrington, T. (2013). The Ghost Dance and the politics of exclusion in Sherman Alexie's “Distances”. Journal of American Studies, 47(2), 521-540. https://doi.org/10.1017/S0021875812001417
  • Ginsburg, F. (2002). Screen memories: Resignifying the traditional in Indigenous media. F. Ginsburg ve L. Abu-Lughod (Ed.). Media worlds: Anthropology on new terrain içinde (ss. 39-57). University of California Press.
  • Grande, S. (2014). Red pedagogy. Rowman & Littlefield.
  • Grassian, D. (2005). Understanding Sherman Alexie. University of South Caroline Press.
  • Hausman, B. M. (2010). Alexie’s nutshell: Mousetraps and interpenetrations of The Business of Fancydancing and Hamlet. Studies in American Indian Literatures, 22(1), 76-112. https://doi.org/10.1353/ail.0.0119
  • Hughes, L. (2020). Framing representation: An ethnographic exploration of visual sovereignty and contemporary Native American art [Yüksek Lisans Tezi, University of Denver]. https://digitalcommons.du.edu/etd/1782
  • James, M. K. (2011). “The res has missed you”: The fragmented reservation of the mind in The Business of Fancydancing. L. Lewis (Ed.), Critical insights: Sherman Alexie içinde (ss. 360-369). Salem Press.
  • Junka-Aikio, L. (2016). Can the Sámi speak now? Cultural Studies, 30(2), 205-233. https://doi.org/10.1080/09502386.2014.978803
  • LaRocque, E. (2010). When the other is me: Native resistance discourse 1850-1990. University of Manitoba Press.
  • Lempert, W. (2012). Telling their own stories: Indigenous film as critical identity discourse. The Applied Anthropologist, 32(1), 23-32. https://hpsfaa.org/Resources/Documents/AppliedAnthropologist-2012/No.%201/Lempert_2012_32(1)_23-32.pdf
  • Lien, S. ve Nielssen, H. W. (2021). Introduction: Coloniality, Indigeneity, and photography. S. Lien ve H. W. Nielssen (Ed.) Adjusting the lens: Indigenous activism, colonial legacies, and photographic heritage içinde (ss. 3-20). UBC Press.
  • Marubbio, M. E. ve Buffalohead, E. L. (2013). Introduction: talking back, moving forward. M.E. Marubbio ve E. L. Buffalohead (Ed.), Native Americans on film: Conversations, teaching, and theory içinde (ss. 1-28). The University Press of Kentucky.
  • Nygren, A. (2005). A world of Story-Smoke: A Conversation with Sherman Alexie. MELUS, 30(4), 149-169. https://doi.org/10.1093/melus/30.4.149
  • Öhman, M. (2016). TechnoVisions of a Sámi cyborg: Reclaiming Sámi body-, land-, and waterscapes after a century of colonial exploitations in Sábme. J. Bull ve M. Fahlgren (Ed.), Illdisciplined gender: Engaging questions of Nature/Culture and transgressive encounters içinde (ss. 63-98). Springer International Publishing.
  • Peterson, N. J. (Ed.). (2009). Conversations with Sherman Alexie. University Press of Mississippi.
  • Rader, D. (2002). Word as weapon: Visual culture and contemporary American Indian poetry. MELUS, 27(3). 147–167. https://doi.org/10.2307/3250660
  • Raheja, M. H. (2010). Reservation reelism. University of Nebraska Press.
  • Rony, F. T. (1996). The third eye: Race, cinema, and ethnographic spectacle. Duke University Press.
  • Smith, L. T. (2021). Decolonizing methodologies: Research and Indigenous peoples. Zed Books.
  • Smith, P. C. (1995). Ghost in the machine. Aperture, Yaz 1995, 6-13. https://issues.aperture.org/article/1995/02/02/ghost-in-the-machine
  • Wilson, P. ve Stewart, M. (2008). Introduction: Indigeneity and Indigenous media on the global stage. P. Wilson ve M. Stewart (Ed.), Global Indigenous media içinde, (ss. 1-35). Duke University Press.
Year 2023, Issue: 22, 101 - 126, 02.10.2023

Abstract

References

  • Alexie, S. (1996). Inside Dachau. The Beloit Poetry Journal, 46(4), 12-16.
  • Alexie, S. (2002). The Business of Fancydancing [Film]. FallsApart Production.
  • Barclay, B. (2003). Celebrating Fourth Cinema. Illusions, 35, 7-11. https://www.academia.edu/4905111/Printed_in_Illusions_Magazine_NZ_July_2003_CELEBRATING_FOURTH_CINEMA
  • Barclay, B. (2015). Our own image: A Story of a Maori filmmaker. University of Minnesota Press.
  • Bird, G. (2011). The exaggeration of despair in Sherman Alexie’s Reservation Blues. L. Lewis (Ed.), Critical insights: Sherman Alexie içinde (ss. 288-304). Salem Press.
  • Blanchard, P. (2016, 26 Temmuz). Vahşinin icadı (A. Artun, Çev.). Skop Bülten. https://www.e-skop.com/skopbulten/pasajlar-vahsinin-icadi/3011
  • Cariou, W. (2006). Haunted Prairie: Aboriginal 'Ghosts' and the spectres of settlement. University of Toronto Quarterly, 75(2), 727-734. https://doi.org/10.3138/utq.75.2.727
  • Cox, J. (1997). Muting white noise: The subversion of popular culture narratives of conquest in Sherman Alexie's fiction. Studies in American Indian Literatures, 9(4), 52-70.
  • Deloria Jr., V. (1988). Custer died for your sins: An Indian manifesto. University of Oklahoma Press.
  • Dippie, B. (1982). The vanishing American: White attitudes and U.S. Indian policy. University Press of Kansas.
  • Dowell, K. (2006). Indigenous media gone global: Strengthening Indigenous identity on- and offscreen at the First Nations\First Features film showcase. American Anthropologist, 108(2), 376-384. https://doi.org/10.1525/aa.2006.108.2.376
  • Erdrich, L. (1993). Love medicine. Harper Perennial.
  • Farrington, T. (2013). The Ghost Dance and the politics of exclusion in Sherman Alexie's “Distances”. Journal of American Studies, 47(2), 521-540. https://doi.org/10.1017/S0021875812001417
  • Ginsburg, F. (2002). Screen memories: Resignifying the traditional in Indigenous media. F. Ginsburg ve L. Abu-Lughod (Ed.). Media worlds: Anthropology on new terrain içinde (ss. 39-57). University of California Press.
  • Grande, S. (2014). Red pedagogy. Rowman & Littlefield.
  • Grassian, D. (2005). Understanding Sherman Alexie. University of South Caroline Press.
  • Hausman, B. M. (2010). Alexie’s nutshell: Mousetraps and interpenetrations of The Business of Fancydancing and Hamlet. Studies in American Indian Literatures, 22(1), 76-112. https://doi.org/10.1353/ail.0.0119
  • Hughes, L. (2020). Framing representation: An ethnographic exploration of visual sovereignty and contemporary Native American art [Yüksek Lisans Tezi, University of Denver]. https://digitalcommons.du.edu/etd/1782
  • James, M. K. (2011). “The res has missed you”: The fragmented reservation of the mind in The Business of Fancydancing. L. Lewis (Ed.), Critical insights: Sherman Alexie içinde (ss. 360-369). Salem Press.
  • Junka-Aikio, L. (2016). Can the Sámi speak now? Cultural Studies, 30(2), 205-233. https://doi.org/10.1080/09502386.2014.978803
  • LaRocque, E. (2010). When the other is me: Native resistance discourse 1850-1990. University of Manitoba Press.
  • Lempert, W. (2012). Telling their own stories: Indigenous film as critical identity discourse. The Applied Anthropologist, 32(1), 23-32. https://hpsfaa.org/Resources/Documents/AppliedAnthropologist-2012/No.%201/Lempert_2012_32(1)_23-32.pdf
  • Lien, S. ve Nielssen, H. W. (2021). Introduction: Coloniality, Indigeneity, and photography. S. Lien ve H. W. Nielssen (Ed.) Adjusting the lens: Indigenous activism, colonial legacies, and photographic heritage içinde (ss. 3-20). UBC Press.
  • Marubbio, M. E. ve Buffalohead, E. L. (2013). Introduction: talking back, moving forward. M.E. Marubbio ve E. L. Buffalohead (Ed.), Native Americans on film: Conversations, teaching, and theory içinde (ss. 1-28). The University Press of Kentucky.
  • Nygren, A. (2005). A world of Story-Smoke: A Conversation with Sherman Alexie. MELUS, 30(4), 149-169. https://doi.org/10.1093/melus/30.4.149
  • Öhman, M. (2016). TechnoVisions of a Sámi cyborg: Reclaiming Sámi body-, land-, and waterscapes after a century of colonial exploitations in Sábme. J. Bull ve M. Fahlgren (Ed.), Illdisciplined gender: Engaging questions of Nature/Culture and transgressive encounters içinde (ss. 63-98). Springer International Publishing.
  • Peterson, N. J. (Ed.). (2009). Conversations with Sherman Alexie. University Press of Mississippi.
  • Rader, D. (2002). Word as weapon: Visual culture and contemporary American Indian poetry. MELUS, 27(3). 147–167. https://doi.org/10.2307/3250660
  • Raheja, M. H. (2010). Reservation reelism. University of Nebraska Press.
  • Rony, F. T. (1996). The third eye: Race, cinema, and ethnographic spectacle. Duke University Press.
  • Smith, L. T. (2021). Decolonizing methodologies: Research and Indigenous peoples. Zed Books.
  • Smith, P. C. (1995). Ghost in the machine. Aperture, Yaz 1995, 6-13. https://issues.aperture.org/article/1995/02/02/ghost-in-the-machine
  • Wilson, P. ve Stewart, M. (2008). Introduction: Indigeneity and Indigenous media on the global stage. P. Wilson ve M. Stewart (Ed.), Global Indigenous media içinde, (ss. 1-35). Duke University Press.
There are 33 citations in total.

Details

Primary Language Turkish
Subjects Communication Studies, Cinema Theories
Journal Section Araştırma Makaleleri
Authors

Aygün Şen 0000-0002-6438-1426

Publication Date October 2, 2023
Submission Date August 23, 2023
Published in Issue Year 2023 Issue: 22

Cite

APA Şen, A. (2023). YERLİ HAYALETLER: THE BUSINESS OF FANCYDANCING. Kocaeli Üniversitesi İletişim Fakültesi Araştırma Dergisi(22), 101-126.