This article explores an important facet of the New Wave of Indigenous filmmaking in Canada: residential school system history and imagery, its place in the historical archive, and the way it is being retold and reclaimed in films like Rhymes for Young Ghouls (2013), Savage (2009), Sisters & Brothers (2015), Indian Horse (2017), and The Grizzlies (2018). While researching this topic, one unanswered question has left me feeling sometimes frustrated and often troubled: Is there a risk of producing pan-Indigenous readings, or worse, repeating the original propagandistic intentions of the original residential school photographs when they are used in new media?

本文探讨了加拿大土著电影制作新浪潮的一个重要方面：住宅学校系统的历史和图像，其在历史档案中的位置以及在诸如《青年古韵》（2013年）之类的电影中被重新讲述和回收的方式，野人（2009），姐妹与兄弟（2015），印度马（2017）和灰熊（2018）。在研究此主题时，一个未解决的问题使我感到有时感到沮丧，并且经常感到困扰：是否存在产生泛土著读数的风险，或更糟糕的是，当将它们用于新媒体时，重复原始民居学校照片的原始宣传意图。 ？