Joanna Hearne
Biographic Data
| ID | 4585212 |
|---|---|
| NAME | Joanna Hearne |
| GIVEN NAMES | Joanna |
| FAMILY NAME | Hearne |
| SIGNATURE | HEARNE J |
| AFFILIATIONS | University of Oklahoma |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Animated Waters and the Circulation of Indigenous Instruction
While water as setting and as mirror have driven animation technologies in mainstream American animated features (requiring, in Disney’s 1937 Snow White , the enormous resources of the multiplane camera), contemporary Indigenous productions activate another relationship of viewer to screen and viewer to water, converging to form a new Indigenous screen imaginary that connects instruction with care. This article traces the integration of North Ame…
Native American and Indigenous Media
Of the films and videos screened at the 2017 imagineNATIVE Film + Media Arts Festival, 72 percent were made by Indigenous women directors; the work included feature films, documentaries, experimental films, new media, animation, games, digital stories, and virtual reality projects.1 This remarkable proportion is the exact inverse of the notoriously dismal numbers in Hollywood and the independent film industry; of independent films screened at hig…
Native to the Device
Native to the DeviceThoughts on Digital Indigenous Studies Joanna Hearne (bio) In studies of Indigenous film and video, the camera has been a powerful metaphor for Indigenous struggles over control of the image. This is articulated most vividly in Māori filmmaker Barry Barclay's invocation of the camera's contrapuntal position, embedded in the mechanics of shot / reverse shot, to characterize Indigenous and settler filmmaking in his seminal essay…
We All Stand Side by Side”
“We All Stand Side by Side”An Interview with Elizabeth LaPensée Joanna Hearne (bio) and Elizabeth LaPensée (bio) Excerpts from a Skype interview, September 6, 2016. joanna hearne (jh): Thank you for providing the cover art for the special issue that we’re doing on digital Indigenous studies. Everyone loved this piece, The Women, They Hold the Ground. How did you come to make that piece, and how, physically, did you make it? How does it have meani…
I Am Not a Fairy Tale”
When Indigenous traditional stories are adapted for mainstream media platforms, they enter into a complex media space already saturated with story genres and a regulatory environment specific to national broadcasting. With attention to both screen aesthetics and contexts of folktale categories and media infrastructures, I explore Indigenous agency in Canadian broadcasting of First Nations stories for youth audiences. Recognizing the influence of …
Unsettling Sights
The rise of indigenous cinema as a global phenomenon has been characterized most forcefully by Maori filmmaker and critic Barry Barclay, who coined the term ‘Fourth Cinema’ in a 2002 speech in order to separate indigenous minority cinemas – which operate ‘outside of the national orthodoxy’ – from the First, Second and Third Cinema frameworks that he collectively termed ‘invader cinemas’. This emergence is marked by an increasing production of cri…
Indigenous Animation
Indigenous Animation
Telling and retelling in the 'Ink of Light
This essay compares the narrative conventions of early ethnographic films, particularly Edward S. Curtis' In the Land of the Headhunters (1914) and Robert Flaherty's Nanook of the North (1922), with the use of framing devices – ‘attached narratives’ or storytelling performances—in contemporary productions by indigenous filmmakers, including Victor Masayesva's Itam Hakim, Hopiit (1984), and Zacharias Kunuk's Atanarjuat (The Fast Runner) (2001). Th…
The Cross-Heart People”
The author examines the visualization of Indianness in the context of cross-racial romance and in relation to the emergence of the Western genre in early silent film. Popular attitudes toward Indian assimilation and United States policy are traced through the cinematic versions of The Squaw Man and other “Indian dramas” from 1908 to 1916
Telling and retelling in the 'Ink of Light
This essay compares the narrative conventions of early ethnographic films, particularly Edward S. Curtis' In the Land of the Headhunters (1914) and Robert Flaherty's Nanook of the North (1922), with the use of framing devices – ‘attached narratives’ or storytelling performances—in contemporary productions by indigenous filmmakers, including Victor Masayesva's Itam Hakim, Hopiit (1984), and Zacharias Kunuk's Atanarjuat (The Fast Runner) (2001). Th…
The Cross-Heart People”
The author examines the visualization of Indianness in the context of cross-racial romance and in relation to the emergence of the Western genre in early silent film. Popular attitudes toward Indian assimilation and United States policy are traced through the cinematic versions of The Squaw Man and other “Indian dramas” from 1908 to 1916
The Cross-Heart People”
The author examines the visualization of Indianness in the context of cross-racial romance and in relation to the emergence of the Western genre in early silent film. Popular attitudes toward Indian assimilation and United States policy are traced through the cinematic versions of The Squaw Man and other “Indian dramas” from 1908 to 1916
Telling and retelling in the 'Ink of Light
This essay compares the narrative conventions of early ethnographic films, particularly Edward S. Curtis' In the Land of the Headhunters (1914) and Robert Flaherty's Nanook of the North (1922), with the use of framing devices – ‘attached narratives’ or storytelling performances—in contemporary productions by indigenous filmmakers, including Victor Masayesva's Itam Hakim, Hopiit (1984), and Zacharias Kunuk's Atanarjuat (The Fast Runner) (2001). Th…
Indigenous Animation
Indigenous Animation
Unsettling Sights
The rise of indigenous cinema as a global phenomenon has been characterized most forcefully by Maori filmmaker and critic Barry Barclay, who coined the term ‘Fourth Cinema’ in a 2002 speech in order to separate indigenous minority cinemas – which operate ‘outside of the national orthodoxy’ – from the First, Second and Third Cinema frameworks that he collectively termed ‘invader cinemas’. This emergence is marked by an increasing production of cri…
Native to the Device
Native to the DeviceThoughts on Digital Indigenous Studies Joanna Hearne (bio) In studies of Indigenous film and video, the camera has been a powerful metaphor for Indigenous struggles over control of the image. This is articulated most vividly in Māori filmmaker Barry Barclay's invocation of the camera's contrapuntal position, embedded in the mechanics of shot / reverse shot, to characterize Indigenous and settler filmmaking in his seminal essay…
We All Stand Side by Side”
“We All Stand Side by Side”An Interview with Elizabeth LaPensée Joanna Hearne (bio) and Elizabeth LaPensée (bio) Excerpts from a Skype interview, September 6, 2016. joanna hearne (jh): Thank you for providing the cover art for the special issue that we’re doing on digital Indigenous studies. Everyone loved this piece, The Women, They Hold the Ground. How did you come to make that piece, and how, physically, did you make it? How does it have meani…
I Am Not a Fairy Tale”
When Indigenous traditional stories are adapted for mainstream media platforms, they enter into a complex media space already saturated with story genres and a regulatory environment specific to national broadcasting. With attention to both screen aesthetics and contexts of folktale categories and media infrastructures, I explore Indigenous agency in Canadian broadcasting of First Nations stories for youth audiences. Recognizing the influence of …
Native American and Indigenous Media
Of the films and videos screened at the 2017 imagineNATIVE Film + Media Arts Festival, 72 percent were made by Indigenous women directors; the work included feature films, documentaries, experimental films, new media, animation, games, digital stories, and virtual reality projects.1 This remarkable proportion is the exact inverse of the notoriously dismal numbers in Hollywood and the independent film industry; of independent films screened at hig…
Animated Waters and the Circulation of Indigenous Instruction
While water as setting and as mirror have driven animation technologies in mainstream American animated features (requiring, in Disney’s 1937 Snow White , the enormous resources of the multiplane camera), contemporary Indigenous productions activate another relationship of viewer to screen and viewer to water, converging to form a new Indigenous screen imaginary that connects instruction with care. This article traces the integration of North Ame…
Indigenous (9 works) · Art (8 works) · Sociology (8 works) · History (7 works) · Computer Science (6 works) · Media studies (6 works) · Literature (5 works) · Visual arts (5 works) · Art history (4 works) · History (4 works)