Ernie Blackmore is a retired Lecturer in Aboriginal Studies at the University of Wollongong, Australia.Kerstin Knopf is Professor for North American and Postcolonial Literary and Cultural Studies at the University of Bremen, Germany.Wendy Gay Pearson is an Associate Professor at the Department of Gender, Sexuality, and Women’s Studies at the University of Western Ontario, Canada.Corina Wieser-Cox is a Ph.D. candidate in Queer Mexican and Latinx film and research assistant at the University of Bremen, Germany.

"Comprehensive in scope and profound in intellectual incisiveness, this book explores, in very accessible writing, a 'global' Indigenous cinema that needs more visibility. A must-read for film scholars and students." Anthony Adah, Minnesota State University Moorhead, USA

• Introduction: Indigenous Filmmaking throughout the World Ernie Blackmore, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox Part 1: Decolonial Intermedialities and Revisions of Western Media 1. MooNaHaTihKaaSiWew / Unearthing Spirit Framework Jules A. Koostachin 2. Telling Time: Confronting Ethnography in Alanis Obomsawin’s Documentaries Tia Wong 3. Barry Barclay’s Ngāti (1987) and Merata Mita’s Mauri (1988): A Whakapapa/Genealogy of Indigenous Māori Fiction Film in Aotearoa, New Zealand Deborah Walker-Morrison 4. Waru (2017) and Vai (2019): South Pacific Sisters Doing It for Themselves, Each Other, and Their Communities Marina Alofagia McCartney and Deborah Walker-Morrison 5. ’We are not Dead’: Decolonizing the Frame Jeni Thornley 6. Acts of Translation in Ten Canoes Corinn Columpar Part 2: Colonial Histories, Trauma, Resistances 7. Yolanda Cruz’s 2501 Migrants: A Journey: Possibilities and Limitations of Cultural Activism Annette L. Rukwied 8. Recipes for Survival: Muffins for Granny and the Legacy of Residential Schooling Susan Knabe and Wendy Gay Pearson 9. ’It’s Going to be Chief’: Sterlin Harjo’s Barking Water Lee Schweninger 10. ’For Spirits, Time Doesn’t Exist’: Haunting and Homecoming in Chris Eyre’s Thriller Imprint Manuela Müller 11. Pathfinder and Pathbreaker: Nils Gaup's Ofelas as Indigenous Cinema Martin Holtz 12. 'The World is Disintegrating' – Eco-trauma and the Representation of Mining in Catriona McKenzie’s Satellite Boy Victoria Herche 13. ’Two Parts Broken Heart and One Part Hope’: Violence and Historical Trauma in Skins, Bearwalker and Once Were Warriors Wendy Gay Pearson Part 3: Indigenous Lands, Communities, Bodies 14. Generational Bonds, Language and Community in the Films of Angeles Cruz and Nicolas Rojas Itandehui Jansen 15. Making Accented Indigenous Transnational Community Cinema: Tiempo de Lluvia/In Times of Rain by Itandehui Jansen Deborah Shaw 16. Therapeutic and Bodily Politics in Busong (Palawan Fate) Adam Szymanski 17. The Land Has Eyes: Letter from the Island – Rotuma Gerd Becker 18. Romancing the Land: The Journals of Knud Rasmussen and the Circumvention of Colonial Landscapes Erin Morton and Taryn Sirove 19. After the Apocalypse: Self, Place and Movement in Liselotte Wajstedt’s Documentaries Stefan Holander 20. Nuummioq and Anori – Greenlanders and Land, Mythic Past, Modernity Kerstin Knopf Part 4: Queer Cultures and Border Crossings 21. Constellating Bakla Desire in Auraeus Solito’s The Blossoming of Maximo Oliveros Christian Ylagan 22. Captive Audience: Erotohistoriography in Kent Monkman’s Group of Seven Inches Kevin Shaw 23. Moving Again: Realism, (Indigi)Queer Hope, and Fire Song" Josh Morrison 24. Power in the Blood: Boundary Crossing and Bloodletting in Randy Redroad’s The Doe Boy Joshua B. Nelson 25. Transgressing the Borders of Being: Hacktivism, Posthumanism and Technological Paradoxes in Alex Rivera’s Sleep Dealer Corina Wieser-Cox Part 5: Youth Cultures and Emancipation 26. Rhymes for Young Ghouls: The Stolen Letter André Dudemaine 27. ‘It is No Longer a Guilt Game’: Anger, Empowerment and Intercultural Dialogue in Tracy Deer’s Mohawk Girls Natália Pinazza 28. Yandiawish: The Great Turtle’s Account of Mesnak Guy Sioui Durand 29. Who We Are Now’: Iñupiaq Youth On the Ice Joanna Hearne 30. Running Up Heartbreak Hill on The Edge of America: The Struggle to Make Life Liveable Ralph Armbruster-Sandoval 31. Establishing Global Affinities in Katja Gauriloff’s Canned Dreams (2012) Kate Moffat 32. “Schism of a Nation: Echoes of Silenced Voices in Toomelah” Emme Devonish Part 6: Art, Comedy, and Music 33. Shelley Niro’s Kissed by Lightning and its Painted Series ‘Peacemaker’s Journey’ as Forms of Indigenous Resistance through Artistic Expression Stephanie Pratt 34. Reggae Sounds in Maori Cinema Nele Rein 35. Joints, Rocks, and Slapstick: Decolonizing Humor in Stone Bros Geoffrey Rodoreda 36. Singing the Songs of our Era in Bran Nue Day Felicity Collins 37. ‘Love and Affection, to the Bone’: Identity and Reconciliation in Wayne Blair’s The Sapphires Susan Knabe and Ernie Blackmore. Filmography Index

Ernie Blackmore is a retired Lecturer in Aboriginal Studies at the University of Wollongong, Australia.Kerstin Knopf is Professor for North American and Postcolonial Literary and Cultural Studies at the University of Bremen, Germany.Wendy Gay Pearson is an Associate Professor at the Department of Gender, Sexuality, and Women’s Studies at the University of Western Ontario, Canada.Corina Wieser-Cox is a Ph.D. candidate in Queer Mexican and Latinx film and research assistant at the University of Bremen, Germany.

"Comprehensive in scope and profound in intellectual incisiveness, this book explores, in very accessible writing, a 'global' Indigenous cinema that needs more visibility. A must-read for film scholars and students." Anthony Adah, Minnesota State University Moorhead, USA

• Introduction: Indigenous Filmmaking throughout the World Ernie Blackmore, Kerstin Knopf, Wendy Gay Pearson, and Corina Wieser-Cox Part 1: Decolonial Intermedialities and Revisions of Western Media 1. MooNaHaTihKaaSiWew / Unearthing Spirit Framework Jules A. Koostachin 2. Telling Time: Confronting Ethnography in Alanis Obomsawin’s Documentaries Tia Wong 3. Barry Barclay’s Ngāti (1987) and Merata Mita’s Mauri (1988): A Whakapapa/Genealogy of Indigenous Māori Fiction Film in Aotearoa, New Zealand Deborah Walker-Morrison 4. Waru (2017) and Vai (2019): South Pacific Sisters Doing It for Themselves, Each Other, and Their Communities Marina Alofagia McCartney and Deborah Walker-Morrison 5. ’We are not Dead’: Decolonizing the Frame Jeni Thornley 6. Acts of Translation in Ten Canoes Corinn Columpar Part 2: Colonial Histories, Trauma, Resistances 7. Yolanda Cruz’s 2501 Migrants: A Journey: Possibilities and Limitations of Cultural Activism Annette L. Rukwied 8. Recipes for Survival: Muffins for Granny and the Legacy of Residential Schooling Susan Knabe and Wendy Gay Pearson 9. ’It’s Going to be Chief’: Sterlin Harjo’s Barking Water Lee Schweninger 10. ’For Spirits, Time Doesn’t Exist’: Haunting and Homecoming in Chris Eyre’s Thriller Imprint Manuela Müller 11. Pathfinder and Pathbreaker: Nils Gaup's Ofelas as Indigenous Cinema Martin Holtz 12. 'The World is Disintegrating' – Eco-trauma and the Representation of Mining in Catriona McKenzie’s Satellite Boy Victoria Herche 13. ’Two Parts Broken Heart and One Part Hope’: Violence and Historical Trauma in Skins, Bearwalker and Once Were Warriors Wendy Gay Pearson Part 3: Indigenous Lands, Communities, Bodies 14. Generational Bonds, Language and Community in the Films of Angeles Cruz and Nicolas Rojas Itandehui Jansen 15. Making Accented Indigenous Transnational Community Cinema: Tiempo de Lluvia/In Times of Rain by Itandehui Jansen Deborah Shaw 16. Therapeutic and Bodily Politics in Busong (Palawan Fate) Adam Szymanski 17. The Land Has Eyes: Letter from the Island – Rotuma Gerd Becker 18. Romancing the Land: The Journals of Knud Rasmussen and the Circumvention of Colonial Landscapes Erin Morton and Taryn Sirove 19. After the Apocalypse: Self, Place and Movement in Liselotte Wajstedt’s Documentaries Stefan Holander 20. Nuummioq and Anori – Greenlanders and Land, Mythic Past, Modernity Kerstin Knopf Part 4: Queer Cultures and Border Crossings 21. Constellating Bakla Desire in Auraeus Solito’s The Blossoming of Maximo Oliveros Christian Ylagan 22. Captive Audience: Erotohistoriography in Kent Monkman’s Group of Seven Inches Kevin Shaw 23. Moving Again: Realism, (Indigi)Queer Hope, and Fire Song" Josh Morrison 24. Power in the Blood: Boundary Crossing and Bloodletting in Randy Redroad’s The Doe Boy Joshua B. Nelson 25. Transgressing the Borders of Being: Hacktivism, Posthumanism and Technological Paradoxes in Alex Rivera’s Sleep Dealer Corina Wieser-Cox Part 5: Youth Cultures and Emancipation 26. Rhymes for Young Ghouls: The Stolen Letter André Dudemaine 27. ‘It is No Longer a Guilt Game’: Anger, Empowerment and Intercultural Dialogue in Tracy Deer’s Mohawk Girls Natália Pinazza 28. Yandiawish: The Great Turtle’s Account of Mesnak Guy Sioui Durand 29. Who We Are Now’: Iñupiaq Youth On the Ice Joanna Hearne 30. Running Up Heartbreak Hill on The Edge of America: The Struggle to Make Life Liveable Ralph Armbruster-Sandoval 31. Establishing Global Affinities in Katja Gauriloff’s Canned Dreams (2012) Kate Moffat 32. “Schism of a Nation: Echoes of Silenced Voices in Toomelah” Emme Devonish Part 6: Art, Comedy, and Music 33. Shelley Niro’s Kissed by Lightning and its Painted Series ‘Peacemaker’s Journey’ as Forms of Indigenous Resistance through Artistic Expression Stephanie Pratt 34. Reggae Sounds in Maori Cinema Nele Rein 35. Joints, Rocks, and Slapstick: Decolonizing Humor in Stone Bros Geoffrey Rodoreda 36. Singing the Songs of our Era in Bran Nue Day Felicity Collins 37. ‘Love and Affection, to the Bone’: Identity and Reconciliation in Wayne Blair’s The Sapphires Susan Knabe and Ernie Blackmore. Filmography Index