what secrets lie behind these discovered mileage benches in 360 degrees and explore fascinating. both heritage spelling, dw, world heritage 360. now in cinema. as in history, data people have always been present throughout the us. how hollywood has to take the need of characters and their history has changed radically. now, indigent still makers are beginning to tell their own stories. in hollywood and around the world the the

little gladstone one, the best actress building to for killers of the flower moon. she spoke in blackfoot for native tongue, phoenix so so it's miss an incomplete document that those 6 it get to be new. got it took hollywood nearly a century to finally show indigenous people on screen. free from stereotypes include shays, but long before a little gladstone stripes, native stars were making movies. the and digital stories are nothing new and hollywood from the start american directors were pointing their cameras a native people from the origins of american cinema. indigenous people culls. we're

not at the margins of the screen. they were at the center 3 world war, one in the silent era. there was a real, a 100 and an audience, a see what they called indian drama. story was the silent movies were mixed bag, some propagating clearly racist stereotypes. others depicting more positive and complex indigenous stories. you had images of villains and noble indians. you had india, white relationships or marriages that worked out. you had those that fell apart. and you also had mixed images of what they referred to as, quote of the evil half breed, but also the noble half rate. anyway, native stars like james young deer, an anti cold actor writer and director involved in the production of more than a $150.00 silent films. many with his wife, lilian, st. see, or, or red wing. they were the 1st native american, the hollywood power for america's cowboy philosopher. will rogers,

a citizen of the cherokee nation. at one point rogers, who starred in more than 70 films, was the highest paid actor in hollywood, a steven host of the oscars and 1934. so the only native american to do so. but most of the early indigenous stars have been forgotten replaced by an image of native americans drilled into the culture by hundreds of hollywood westerns. the . we all know the stereotypes, the brave white cowboy fighting the savage indians to bring civilization to the wild west. imagine you're in indigenous person watching one of these classic hollywood westerns. who would you identify with the cowboy or the indeed the 3 watching these westerns and the stereotype is that the indians are stupid and they always get killed. and when i found out it was an indian,

it's like, you know, you did the, you don't want to be about the car as a power. you're the representative. then the westerns, the 1st hollywood western. this took their queue from earlier forms of popular entertainment paintings, pump novels and circus style spectacles that sold a particular image of the wild west, and invented history. that's all white settler expansion across the america as well, justified and inevitable, a concept known as manifest destiny. that goes back to wild west shows, it goes back to dime novels. and the paintings of that era, like frederick remington, it is who we are as individuals, we very much are rooted in individual lives. i'm in there in this country as well as manifest destiny. i am sorry to say what happened to that boy who was our lives . right. considered john ford's 1939 film stagecoach, about a group of settlers traveling west who get attacked. what ford doesn't mention is

that it's the settlers who are the real and bankers here it's apache, land, it's indigenous land. and they're all is represented on the margins as flattened. the western is southern colonial genre. it is about invasion, but it is selling invasion as self defense. most hollywood lessons also engaged in red, facing passing white actors to play natives, practice mocked, and the 2009 documentary real engine. the stereotypes of these old hollywood westerns continues to shape popular sentiment and popular perception of native peoples today. even nowadays, people ask like, oh, do you live in a t p like no, i live in a house. oh, does it have electricity? yeah. is that on the reservation? no. and do you guys ride horses to work every day? no, you know, does the government pay for things? no, i, i pay taxes. i have a ton of student debt. you know, many westerns made,

indigenous people background players and their own stories. it would take decades in a role reversal in the native narrative before hollywood put into these characters back in the spotlight the by the early 19 forties with america entering award. if like nazi germany, film showing white settlers shooting natives, wasn't a good look you was really wasn't interested in sending a broad images of white men killing indians, one by one that resembled too much fascist genocide. the end of the war brought a new kind of west in broken arrow from 1950. jean stewart, please. an army scouting negotiates a peace treaty with apache leader to cheese. the film put its native and white characters on equal footing. the do you think because i am an

indian, i'm a fool, you can trick least i would not have come here if i thought that a full season, only today it is because i respect you as a leader of your people that i think up to more all you start having things like broken arrow with jimmy stewart and 1950, and anthony mans devil's doorway also 1950. both of those are our sympathetic westerns with strong native characters, but played by white actors and red face, but their dramas of white sympathy. the late 19 sixties and early seventy's hollywood sympathies entirely with the natives. new your revisionist restaurants like soldier, blue and little big man. flip the script a manifest destiny. dustin hoffman and little big man plays a white man. raised by the cheyenne retails the old wild west stores. but now the cowboys and soldiers are the villains and the natives. the victims playing hoffman's mentor is native artist, an activist chief scan. george. he received an oscar nomination for his performance

. a 1st front indigenous act. i am blind in a fight that i wound from my danger die. i want to do it here within a sir. 2000 kilometers from hollywood and vancouver. a young native girl had found a role model that was kind of a huge moment because he lived in north town and he lives not that far away from where i live. and so i used to follow him. and so it was really kind of cool to see him and little big man and you know, some of the same piece with movies that he did, that was really, i think the 1st time that really resonated that i went pay, wait a minute, that guys you know he's intention, us and he's a big star, a world away german who was having its own new western moment in west germany predating little big man like almost a decade. you had the winter to filter adventure stories based on german novels and

about her role like apache chief one or 2 and his white blood brother old shot her hand, the bind east germany, steep run deepest studios, have its own indiana film, which were our historic stories told from the native perspective, the digits, communities acted to stand ins for socialist ideals and team here lists need is funding agreed and imperialism of the us. army with these german westerns also featured read facing windows who was play by frenchman. beer police to come see by german serbian actor. quite cool me touch. but i'm like those manifest destiny films here. the indigenous characters are the heroes still need of filmmakers like those of come to germany for the bill and film festival. also find these heroic characters. problematic what i often say to people is just think about the history of cinema. i think about what you grown up watching is

being indian. it's always, again, that romantic notion of like, you know, being in the while it's very romanticized and never, never done by actually indigenous people. ironically, it would take a big, hollywood star and the revival of the western to spark new interest in need of stories. and the digital story dollars the in 1990 the western was considered box office plays. then kevin costs, owners dances with walls. costner, police a us army soldier who leads his former life behind to live with the code. combining the sweeping scale and imagery of the wild west shows and those john ford ero

westerns. with the a neil western perspective of violent white man indigenous victims. the film was a mega hit printing the equivalent of $1000000000.00 in today's money. the praise at the time for its sympathetic betrayal of native characters. dances with wolves has not aged. well. maybe what you do is you gotta see the idea, you know, is that kind of things. it's a sound comes out is because the costs are as characters, the hero, and because the low to depend on him to come to the rescue, the field was held up as an example of the so called white savior. narrative, pico is character, becomes a better look, go to them to look over at learning their language and instructing them on how best to say that to try and meet your shop. yeah, we could take the haitian and do you mind me and

it's very much like yeah, like, you know, natives always needed a savior or you know, natives had problems that we couldn't solve ourselves so we needed someone else to come do it. the white savior narrative is still very much with us. many critics, the a similar approach and cost i was hit, series, yellowstone, and fear his new epic western horizon will again be a white gaze on native history those wagons. the in science fiction movies like avatar re purpose the same story with a roller white man coming to the rescue of the embattled indigenous people of pandora, after making their traditions is on the right side. yeah. i've tried, it was not going away. you know, i, the, the talk to some of the will, i think i've ever tied to when ever dial one and they're both white,

save the narratives and god seems watching it because it's put a body act, those people i know what our problem advocates framing of native history, the success of the dances with wolves spark, new interest anita, stories world wide. and the filmmakers stepped up to tell the you're always trying to sound like some of them medicine manner. so, i mean, how many times have you seen dances, 10200 you have seen it that many times i haven't seen. i don't even know how to be real india, i guess not. no wonder geez, i guess i'll have to teach you that name. first of all in humans and supposed to smile like that gets stolen. like

this, chris are smoke signals, the 1st major us film written, directed and stirring indigenous people for many american natives. this is the 1st time they recognize themselves on screen. as a 7 year old child, if you don't necessarily relate to the 1700s when you're in teepees and black skin and stuff like that, it's almost like smoke signals, which is really awesome that showed more modern natives. a more modern struggles. years before in new zealand, lead time, a hari made once were warriors depicting mallory life from the inside. it struck a nerve from a north american perspective. it wasn't in the film, and it was like a very independent phone. but a new zealand that was a blockbuster was the number one stump the months. it was a very confronting film that was written by a mountie alsa the right to and made by monte director, full body cost at a very significant portion of molly cruz. i may turn it under the name of

the menu s. c, john. the serving as the canadian center must struggle, milestone 2001 with i have to now show at the fast runner, the 1st film written directed and acted entirely in the new language that retails a centuries old. and you will legend about occurs that destroys a village and a man forced to flee across the ice on foot. the films sold around the world. it was clear need of filmmakers and left the old, wild west show behind. and they weren't looking back. none of the 1st wave of native directive movies were huge hit, but they inspired the younger generation of indigenous filmmakers. including a then a known mallory director named type of what he did. but there is more here right

now, he's a busy man. he's a mazda kava choose a dog who gets the most directly team. and most people with one hand. when he comes home, he's taking me to see michael jackson lies the in. i live in a room village on the east coast and louisiana. very similar to, to a boy, and when the phone came out, we played it in that community holes and they were pigs because people were finally seeing themselves being presented in their own way or physically 5 their own people. thank you boy. to go to get up to, to go to my name is tommy newton, my days, not overseas in jail, for robbery shuttle. can you, you know, use, he's in the same cell. brooke is margie anymore, escaped how he does a whole underneath the french with what

a spin got a voice. my name is alia, spears i am from the create a nation in manitoba, canada. your native, cold stories, reframe native history, canadian miniseries bones. crows shows the generational trauma wrought on native communities to the residential school system of the government, toward native children from the families, forcing them to convert to christianity and banning them from speaking native languages. the explosive purpose was to kill the indians in the trial, the for native communities. screenings of bones of pros work. the 3rd have a feeling, the something that is coming

you won't be able to protect the whole world. what we know from residential school is that, you know, some of these secrets are some of the, these things that we held in our families. i haven't been released to now haven't been told by members who have experienced it. so sometimes in these communities, after watching balinsa crows, you know, someone from their own community would reveal experiences that they had, that not even, you know, their daughters knew there's going to come even when dealing with serious problems like alcoholism violence. so the legacy of colonialism, these native told stories, have hope, humor, and a spirit of resilience. and when, you know, we have survived as indigenous people throughout the world, even though governments have tried to annihilate us or show us off or chill,

our language is in our cultures. we're still here. the message that natives to be involved in telling their own stories appears finally to have reached tinseltown. so when hollywood is biggest movie star and it's most the claim director tried to tell the story about native history, they knew they needed help. the whose land is martin scorsese's killers of the flower moon set in 19 twenties. oklahoma tells the true story of a series of murders of osage needed is by white men. many married native women leaving r dicaprio as character ernest to mary's. molly play by lily gladstone in a conspiracy to seal the rights to their foil rich land. hungry planning is $200000000.00 epic. so scorsese's 1st visit was the osage country land possible

for the day, how smart everybody. martin went to the tribe 1st and he asked blake, can i tell the story when they had concerns of like, well, you know, like, what's the story going to be like, how are you going to pick the, the violence. how are you going to get to pick the the sisters? how are you going to pick the family in the tribe? i think he very much listen to their concerns. no stage consultants let score says that you to completely change a key scene. ernest visits molly at home and there's a storm coming the you don't understand about our culture. he said, for example, when i was a young kid or 5 of 6, i'd be running around my house and my grandma would be there and. and then one day was running around, she goes, stop it, stop it sits, sit still. so there's a storm coming and she said, sit and be quiet and let the blessing of the storm. the content is giving us,

but it wash over us. and we had to sit and let the storm pass and relish actually appreciate. appreciate the blessing of nature. storm is powerful. so we need to be quiet for a while. the lacrosse. that's for sure. it's uh space. do you originally the theme is that we're drinking and some he gets drunk and she can hold and liquor and that's or so now this is more interesting but it's that sense. so it has so much also about the different cultures, the totally different culture. yeah, i'm here, it's in a, in the sense i found with the old sage, i'm as a sense of giving, giving away giving gifts, giving and the layers group it's taking,

taking. there's plenty of violence and killers. it is a score says the film after all, but the focus is on the personal furnace, intimate the trail of his wife, the violence of settler colonialism playing out on a domestic scale. but killers. the flower moon is still a native story told from the outside, from the perspective of a white man. the score says he kept saying, this is not the white hero like dances with wolves. no, it wasn't. it revolved around the white villain. so you still had a white person or anti hero, the center of the movie and the camera lingered constantly on dicaprio, and it really reinforced that he dominated that story. the night of the community looked at it and say, oh what a missed opportunity. but it needs to be

a native made and native directed and native risk risk and vision of that story. but everybody agrees on the lead gladstone native are this worldwide are cheering on for success. the lily gladstone being nominated for an oscar, you know, she talked and, and black foot and you know, at her award i accept in speech and it makes us all proud. and it makes us all believe that we're, we're able to get there, you know, and uplift each other. that's why a native artist, so looking beyond killers of the flower moon, to a brighter future, were in digits. narratives are not bound by the stories of the past, the forget the world wish. native made story telling today can be anything and

everything. it can be big bunch of fantasy, like marvel movies for wagner, off from our director type of what do you think slash saving? it can be a low budget syfy like night graders from pre meetings, director dentist click. are you ready to give yourself to your country completely, which re imagines the residential school system as a futuristic distributor. it can be hor, like blood quantum from the late mac, mac director jeff barnaby. it's about a virus that turns everyone non native into zombies. it can be comedy. oh, thank you for your donation. excuse me for my beauty now for i shall give you some

ancient native american wisdom here. let the streaming series reservation dogs take what the deed in seminole filmmaker starlen hodge kind of gang was both right and wrong in the mafia, couldn't make up their mind. they want the blood to print or maybe they're blissful . maybe they're good. it's happening. it's like i'm getting like shells thinking about it, like there is things, there's so many things like to know reference that have been directed by indigenous people written by indigenous people produced by indigenous peoples whether invention, histories, or futuristic sy fi fantasy, western clear. um, you know, uh, any genre because its indigenous people worried like our imaginations are incredible. native characters being imagined on screens today are authentic and complex. crazy tick as contradictory and delirious.

the old era of 2 dimensional native villains and victims is past for the future. hollywood job will be to help indigenous artists tell their own story. with a glad go back that will escape the letterman jacket, i black go back the the the,

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a piece and mid afternoon does our pearson menissi school or is that i'm was moved to the gets expose, go to lunch when you find out about all the story info, migraines, reliable news for language wherever they may be. 7 because you daniel's and james, you're going to the 77 percent to come to i just got on $65.00 last last those top 5 years. $1.00 to $115.00. we are here to help you make up your mind. we are here on please find your mind. so all the topics i'm my talk to you from campbell talk, fixed a new culture and in 15 minutes, let's say together. parts of our community life on the research is now on the

this is dw news line from berlin garza cruz talks stalled on the eve of ramadan, with hundreds of mos destroyed palestinians or a force to pray outside as war and hunger overshadow. the start of the muslim holding. the 1st ship carrying humanitarian supplies from cyprus, is ready to sail for gaza. aid is desperately needed with the un morning, tens of thousands face famine. and hollywood get ready for the biggest night in show business. the oscar printer, a cigarettes,

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