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Imagic Moments: Indigenous North American Film by Lee Schweninger (review)

Imagic Moments: Indigenous North American Film by Lee Schweninger (review) Vizenor can show, through the brothers’ reactions, a blueprint for sur- vivance. Time aft er time the brothers are questioned about “Native art” and interact with people surprised that Basile can publish his writing or that Aloysius is capable of painting abstract scenes and totemic images off the reservation. Th ese same people, infl uenced by the imperialism and romantic notions of the time, expect “Indians” to act and dress in a certain way. Cleverly, Vizenor places decoys in his text: poser Indians like Olivier Black Elk and Coyote Standing Bear who mingle with cu- rious Parisians at café entrances so that Basile and Aloysius can linger deeper inside the salons in a more natural, creative existence. It is in this space that the brothers invoke their own narrative teases and inventive interpretations to inspire Native presence and survivance. In Blue Ravens Vizenor puts his characters in conversation with those real- life literary and artistic giants who roam turn- of- the- century Paris. Th e brothers meet and speak with James Joyce and Gertrude Stein and are always just off the trail of Pablo Picasso and Ernest Hemingway. Th is is notable because fi nally we can imagine Gerald http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The American Indian Quarterly University of Nebraska Press

Imagic Moments: Indigenous North American Film by Lee Schweninger (review)

The American Indian Quarterly , Volume 39 (2) – Apr 1, 2015

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 The University of Nebraska Press.
ISSN
1534-1828

Abstract

Vizenor can show, through the brothers’ reactions, a blueprint for sur- vivance. Time aft er time the brothers are questioned about “Native art” and interact with people surprised that Basile can publish his writing or that Aloysius is capable of painting abstract scenes and totemic images off the reservation. Th ese same people, infl uenced by the imperialism and romantic notions of the time, expect “Indians” to act and dress in a certain way. Cleverly, Vizenor places decoys in his text: poser Indians like Olivier Black Elk and Coyote Standing Bear who mingle with cu- rious Parisians at café entrances so that Basile and Aloysius can linger deeper inside the salons in a more natural, creative existence. It is in this space that the brothers invoke their own narrative teases and inventive interpretations to inspire Native presence and survivance. In Blue Ravens Vizenor puts his characters in conversation with those real- life literary and artistic giants who roam turn- of- the- century Paris. Th e brothers meet and speak with James Joyce and Gertrude Stein and are always just off the trail of Pablo Picasso and Ernest Hemingway. Th is is notable because fi nally we can imagine Gerald

Journal

The American Indian QuarterlyUniversity of Nebraska Press

Published: Apr 1, 2015

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