Reviewed by:

• Picturing Indians: Native Americans in Film, 1941–1960 by Liza Black
• Jennifer L Jenkins

Picturing Indians examines twenty years of U.S. film history, post-Stagecoach, in the so-called Golden Age of the Western. Distinct from many film histories of the period and of Native representation in the period and beyond, Picturing Indians examines the economics of what might be called settler-colonial lenses. By disaggregating the production processes from the film narratives, Black exposes the embedded structures within Hollywood's studio system that did much to reify racist views of indigeneity from behind, around, and in the margins of the scenes. Chapters deal with script issues, labor of Native and non-Native actors, the role and race of extras, and the construction of "Movie Indians" upon both Native and non-Native bodies through makeup, costume, and the iconography associated with both. The focus on the labor dynamics of the industry is a clever choice, for it foregrounds typically unseen labor (even now)—doubly unseen when done behind the scenes and by people of color.

Every chapter merits careful reading and rereading, but I found the chapter on Indigenous performativity, "'Not Desired by you for Photographing: the Labor of American Indian (and Non-Indian) Extras," particularly resonant and thought-provoking. Black is adept at weaving together close readings of film narratives, granular details about productions, details from Native-produced revisionist documentaries such as Reel Injuns (Diamond, 2009), and firsthand responses from Native viewers to fully deconstruct—and I mean that in the strictest Derridean, not colloquial, [End Page 98] sense—Hollywood's construction of Indianness. Her reportage of coeval and latter-day resistance to such "picturing" is a model of critical storytelling practice as well as of applied decolonizing methodologies. This is film history as activism.

As Black argues, this is a project dedicated to Native sovereignty. It is interlaced with critical Indigenous theory, and draws heavily upon Native scholarship, including her wide—and not deferential—reading in Euro-American film studies. Indeed, the literature review should be (and will be in my courses) required reading and a model for how to decolonize academic research.

The volume includes an extremely useful filmography in two parts: Hollywood fiction films containing Indian characters from 1941 to 1960 and a broader list of global films with Native characters, many Native-directed or -produced, from 1914 to 2019. Numerous needed courses in film history and theory, economic history, American Indian Studies, regional studies and beyond could be built from these two lists.

Liza Black frames this history of "the hyperreality of filmic Indians" (xi) from Cherokee positionality. Black explains that her identity is grounded in Cherokee history but that she presents as White and grew up off-reservation in Southern California. In most cases an author's biography would be irrelevant to an academic study, but American Indian personhood is central to this work. Life details here are an authorizing impulse as well as a respectful means of introducing one's storytelling position. As her final chapter's subtitle indicates, "The Search for Authenticity" is ongoing and urgent. In both method and content, this book charts a new movement in Indigenous film studies in particular and film studies in general. It is welcome, indeed.

审核人：

• 描绘印第安人：电影中的美洲原住民，1941-1960 年作者 Liza Black
• 詹妮弗·詹金斯

描绘印第安人回顾了二十年的美国电影史，即所谓的西方黄金时代后驿马车时代。与该时期的许多电影史以及该时期及以后的土著代表不同，《描绘印第安人》考察可能被称为定居者-殖民透镜的经济学。通过从电影叙事中分解制作过程，布莱克揭示了好莱坞制片厂系统中的内在结构，这些结构在很大程度上从幕后、周围和场景边缘具体化了种族主义的原住民观点。章节涉及脚本问题、土著和非土著演员的劳动、演员的角色和种族，以及通过化妆、服装和与两者相关的图像在土著和非土著身体上构建“电影印第安人”。关注该行业的劳动力动态是一个明智的选择，因为它突出了通常看不见的劳动力（即使是现在）——在幕后和有色人种完成时双重看不见。

每一章都值得仔细阅读和重读，但我发现关于土著表演的一章，“你不希望拍摄：美洲印第安人（和非印第安人）演员的劳动”，特别引起共鸣和发人深省。布莱克擅长将电影叙事的仔细阅读、制作的精细细节、本土制作的修正主义纪录片的细节，如卷轴印军（钻石，2009），以及本土观众对完全解构的第一手反应——我的意思是，在最严格的德里德式的，不是口语化的，[End Page 98]意义——好莱坞对印第安人的建构。她对同时代和近代对这种“描绘”的抵制的报道是批判性讲故事实践以及应用非殖民化方法的典范。这是作为激进主义的电影史。

正如布莱克所说，这是一个致力于土著主权的项目。它与批判性的土著理论交织在一起，并大量借鉴了土著学术，包括她对欧美电影研究的广泛而不是恭敬的阅读。事实上，文献综述应该是（并且将在我的课程中）必读和如何去殖民化学术研究的模型。

该卷包括两部分非常有用的电影编目：1941 年至 1960 年包含印度角色的好莱坞小说电影，以及 1914 年至 2019 年包含本土角色的更广泛的全球电影列表，其中许多是本土导演或制作的。 大量需要的电影课程历史与理论、经济史、美洲印第安人研究、区域研究等都可以从这两个列表中建立起来。

丽莎·布莱克 (Liza Black) 从切诺基 (Cherokee) 的定位描绘了这段“电影印第安人的超现实”(xi) 的历史。布莱克解释说，她的身份基于切诺基的历史，但她以白人的身份出现，并在南加州非保留地长大。在大多数情况下，作者的传记与学术研究无关，但美国印第安人的人格是这项工作的核心。这里的生活细节是一种权威的冲动，也是一种介绍自己讲故事立场的尊重方式。正如她最后一章的副标题所示，“寻求真实性”正在进行且紧迫。本书在方法和内容上都描绘了土著电影研究和一般电影研究的新运动。确实是受欢迎的。