The Greatest Films

The Routledge Companion to History and Film, 2023

Cinema's capacity to revive, activate, and complicate the past has initiated productive debates about its ability to generate historical knowledge, affect, and engagement. Single films may challenge our perception of a significant event while, over time, the evolution of representations of an era can produce a rich collectivity of images that exposes the multifaceted nature of any historical period. But the sequences and scenes considered by both scholars and publics for what

MATRIZes, 2019

This study analyzes the documentary production of the Guarani Mbya Cinema Collective. By linking film studies with post-colonial criticism, our aim is to understand how indigenous filmmakers, insofar as they appropriate audiovisual registers about themselves, problematize the official versions and stereotypes about their history. From a decolonialist theoretical framework, we identify an imagery regime that configures acts of film and historical disobedience, besides unveiling the colonial character of the power, knowledge and essence surrounding the Guarani people. We also identified metalinguistic processes that mix filmic and historical spaces, create an intricate network between the films and force this cinema to move beyond its borders.

Screen, 2006

University of Toronto Quarterly, 2010

Revista Brasileira de Estudos da Presença, 2024

This study analyzes the place of indigenous peoples in documentary film, outlining the limits and possibilities that define their condition as subject or object of the documentary film. Based on cinema and anthropological studies, it identifies the extent to which the problem of the constitution of the subject in indigenous cinema allows us to consider a similar research question in the field of humanities. Between the historical and cosmological worlds, the audiovisual field and ante-field, permanent colonialism and counter-coloniality, the domains of power in the indigenous documentary perspective are invariably marked by tensions, fissures and limits. Who, after all, is the Other as subject and/or object of the camera?

The International Journal of Screendance

No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press, http://journals.library.wisc.edu/index.php/screendance/issue/view/55. It is made available here with the kind permission of Parallel Press.

Book Review, 2022

Canadian Journal of Films Studies, 2020

In the passage we have chosen as our epigraph, Ojibwe writer, broadcaster, and producer Jesse Wente refers to the “New Wave” of Indigenous cinema “in an effort to explain the global coalescing of Indigenous artists finding new expression in cinema over the past decade and a half.”2 Wente is the director of film programming at the TIFF Bell Lightbox and has been heading up Canada’s Indigenous Screen Office since it was established in 2018, with the goal of providing concrete ways to support the “narrative sovereignty”3 of Canada’s First Peoples. The perspective he describes coincides with the methodological and philosophical principles outlined by Barry Barclay (Ngāti Apa and Pāhekā), the Māori film director, philosopher, and writer who originated the concept of “Fourth Cinema.”4 Wente describes today’s Indigenous cinema as characterized by an organic evolution in constant interaction with the many realities, local and transnational, of First Peoples individuals, families, and communities. It is a movement made up of artists who are motivated by similar concerns working on projects that interconnect, a movement driven by festivals that function as places for gathering, exchange, and dissemination. This resolutely engaged and transnational Indigenous film movement must be understood in all of its various aspects.

2018