Class of Jessica Hinds-Bond is a freelance scholarly editor and indexer. Hughes is a cultural historian and performance scholar interested in how performance constructs culturally recognizable categories and offers possibilities to resist or remake those same categories. Her book project draws on the fields of Native American Studies, Theatre, and Performance Studies asking questions about racialization, representation, authenticity, and authority.
Ginsburg Entangled Technologies In a familiar moment in the history of ethnographic film, a well-known scene in Robert Flaherty's classic Nanook of the North, the character identified on the intertitle as "Nanook, Chief of the Ikivimuits" played by Flaherty's friend and guide, Allakariallak is shown being amazed by a gramophone.
We now recognize the scene as a performance rather than documentation of first contact, an image that contradicts Flaherty's journals describing the Inuit's sophisticated response to these new recording technologies, as well as their technical expertise with them by the time the scene was filmed Rotha Like the gramophone scene, the film itself obscures the engagement with the cinematic process by Allakariallak and others who worked on the production of Flaherty's film in various ways as technicians, camera operators, film developers, and production consultants as we might call them today.
Not long after the character of Nanook achieved fame in the United States and Europe, Allakariallak died of starvation in the Arctic. Although he never passed on his knowledge of the camera and filmmaking directly to other Inuit, the unacknowledged help he gave Flaherty haunts Inuit producers today as a paradigmatic moment in a history of unequal "looking relations" Gaines Their legendary facility with the camera—from imagining and setting up scenes, to helping develop rushes, to fixing the Aggie, as they called the camera—foreshadows their later entanglement with media-making on their own terms.
The Nanook case reminds us that the current impact of media's rapidly increasing presence and circulation in people's lives and the globalization of media that it is part of—whether one excoriates or embraces it—are not simply phenomena of the past two decades.
These tensions between the past erasure and the current visibility of indigenous participation in film and video are central to the work of the aboriginal media-makers who are engaged in making what I call screen memories. Here I invert the sense in which Freud used this term to describe how people protect themselves from their traumatic past through layers of obfuscating memory Freud  Of course, retelling stories for the media of film, video, and television often requires reshaping them, not only within new aesthetic structures but also in negotiation with the political economy of state-controlled as well as commercial media, as the following case makes clear.
The Development of Inuit Television In the s, half a century after Nanook was made, the Inuit Tapirisat, a pan-Inuit activist organization, began agitating for a license from the Canadian government to establish their own Arctic satellite television service, the Inuit Broadcast Corporation IBCwhich was eventually licensed in Marks The Tapirisat's actions were a response to the launching over their remote lands of the world's first geostationary satellite to broadcast to northern Canada, Anik B David The small-scale encounter with Flaherty's film apparatus was nothing in comparison with CBC television programming's invasion of Inuit lives and homes: The Inuit Tapirisat fought this imposition and eventually succeeded in gaining a part of the spectrum for their own use.
The creation of the IBC—a production center for Inuit programming of all sorts—became an important development in the lives of contemporary Canadian Arctic people, as well as a model for the repurposing of communications technologies for indigenous people worldwide.
By it became apparent that although IBC programming was remarkably successful, distribution was still problematic because Inuit work was slotted into the temporal margins of the Canadian Broadcast Corporation CBC late-night schedules. Inafter considerable effort, a satellite-delivered northern aboriginal distribution system, TV Northern Canada TVNCwent to air, the first unified effort to serve almost northern communities in English, French, and twelve aboriginal languages Meadows ; Roth This publicly supported and indigenously controlled national aboriginal television network, the first of its kind in the world, officially went to air in September David Repurposing satellite signals for teleconferencing also provides long-distance communication across vast Arctic spaces for a range of community needs: Prominent among those producing work for these new aboriginal television networks is Inuit director and producer Sak Kunuk, a carver and former Inuit Broadcast Corporation producer.
He has developed a community-based production group in Igloolik, the remote Arctic settlement where he lives, through a process that, ironically, evokes the method used by Robert Flaherty in Nanook.
Kunuk works collaboratively with the people of Igloolik, in particular elders, to create dramatic stories about life in the area around Igloolik in the s before settlement.
Along with his partners, cultural director and lead actor Paloussie Quilitalik a monolingual community elder and technical director Norman Cohn, a Brooklynite relocated to Nunavut, who together make up the production group Igloolik Isuma, Kunuk has produced tapes such as Qaggiq Gathering Place;58 min.
They also have been admired in art and independent film circles in metropolitan centers for their beauty, ethnographic sensibility, humor, intimacy, and innovative improvisational method. For Inuit participants and viewers, Igloolik Isuma serves as a dynamic effort to resignify cultural memory on their own terms.
Their work not only provides a record of a heretofore undocumented legacy at a time when the generation still versed in traditional knowledge is rapidly passing; by also involving young people in the process, the production of these historical dramas requires that they learn Inuktitut and a range of other skills tied to their cultural legacies, thus helping to mitigate a crisis in the social and cultural reproduction of Inuit life.Meredith is a private college in Raleigh, N.C.
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Sally Weale, UK universities face disruption as staff back industrial action, The Guardian (Jan. 22, (“contratto d’opera”) the first step taken by the legislator concerns the protection of the self-employed person during the negotiation and execution of the contract with the client.
E. B. Du Bois, "Chapter Of the Coming of John," The Souls of Black Folk, Lit2Go Edition, (), accessed November and Jennie bought a new gingham.
With some finesse and negotiation, all the dark Methodists and Presbyterians were induced to join in a monster welcome at the Baptist Church; and as the day drew near, warm discussions.
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She has not had a lead role in two years but would like to revive her career. The Lyric Opera has a production scheduled to open in three weeks, but its lead soprano has become unavailable. Lyric’s representative has requested a .
"Who Sank the Boat" is the tale of a cow, a donkey, a sheep, a pig, and a tiny little mouse. This abnormal group of friends decide they want to go enjoy the day by going for a ride in their sail boat/5().