This article argues for the critical evaluation of indigenous media, art, and aesthetic practices within local trajectories of meaning‐making. Drawing on ethnographic research in Arctic Canada with a notable Inuit video and film production company, Igloolik Isuma Productions, I emphasize the value of focusing on locally defined processes of filmic production and on relational bounties accrued outside the camera's field of vision. Indigenous media‐making emerges as a collaborative, adaptive, intercultural, and improvisational practice, one akin to Inuit traditions of hunting, carving, garment‐sewing, tool‐making, and story‐telling, and celebrated for its ability to foster unique environmental relationships, material practices, and perceptual orientations. Exploring the compound and relational workings of indigenous media invites critical reconsideration of the generative potentials it holds for the practitioner‐inhabitants of indigenous communities, anthropologists, and mainstream audiences more broadly.

中文翻译：

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有无相机运行：因纽特人电影制作的工作

本文主张对本地媒体，艺术和审美实践在当地意义发展轨迹内的批判性评价。我利用著名的因纽特人视频和电影制作公司Igloolik Isuma Productions在加拿大北极地区的人种学研究成果，着重强调将重点放在本地定义的电影制作过程上以及相机视野之外产生的关系奖励的价值。土著媒体制作是一种协作，适应，跨文化和即兴创作的实践，类似于因纽特人的狩猎，雕刻，服装缝纫，工具制作和讲故事的传统，并因其促进独特环境关系的能力而倍受赞誉。 ，物质习惯和感性取向。