On screen, Western stories are typically set between 1850 and 1900, drawing inspiration from the Westward Expansion Trails. This movement saw settlers moving into the American West between 1829 and 1870, guided by the belief in Manifest Destiny—a notion that settlers had a divine duty and entitlement to claim lands in the western part of North America, whether inhabited or uninhabited. This perspective frequently led to conflicts with Native Americans, who were the original inhabitants of the land, often resulting in the genocide of certain tribes. On one hand, the colonizers are portrayed as the American heroes wielding power in the form of guns and often conform to the "white saviour" trope. This term is critical and refers to a white person depicted as liberating, rescuing, or uplifting non-white individuals.
In 1908, D.W. Griffith released The Red Man and the Child. The film featured a sympathetic depiction of Native American characters; however, critics describe their portrayal as a "helpless Indian race...forced to recede before the advancing white." Similar depictions included The Indian Runner's Romance (1909) and The Red Man's View (1909)
Native American Indians have often been portrayed as primitive figures, with roles that cast them as either villains or noble savages. They were subjected to harmful stereotypes such as "redface", whitewash and "white savior" portrayals. "Redface" refers to the act of non-Natives wearing makeup to darken or redden their skin tone, often accompanied by feathers and warpaint, in an attempt to impersonate Native American Indians. However, over time, in response to societal changes, Hollywood has gradually, albeit sometimes reluctantly, started to depict Native American Indians as fully developed individuals with distinct personalities, backgrounds, cultures, and complexities. Despite this progress, many of these characters are still not portrayed by actual indigenous actors or directed by individuals from those communities. Films that exemplify this evolving representation include 'Dances with Wolves' (Kevin Costner, 1990), 'Little Big Man' (Arthur Penn, 1970), 'The Last of the Mohicans' (Michael Mann, 1992), 'A Man Called Horse' (Elliot Silerstein, 1970), and 'Broken Arrow' (Delmer Daves, 1950), among others.
Westerns share many similarities with historical dramas in their representation of Native American history and the impact of colonization. They frequently portray significant events and historical figures, shedding light on crucial aspects of Native American history. For instance, Western films have explored events like the Trail of Tears, which was a tragic forced relocation of Native American tribes, particularly the Cherokee Nation, in the 1830s. Tecumseh, a prominent Native American leader of the Shawnee tribe, is another figure who has been depicted in Westerns. His efforts to unite various Native American tribes against westward expansion and colonization have been a subject of interest. The Battle of Little Bighorn, where Native American forces led by figures like Sitting Bull and Crazy Horse defeated General Custer's troops, is another significant event often portrayed in Western films. One notable example of a film delving into Native American history is "Bury My Heart at Wounded Knee," which examines the tragic events leading to the Wounded Knee Massacre. This film provides a poignant perspective on the struggles of Native American communities during the late 19th century. Additionally, "Black Robe" explores the interactions between Native American tribes and Jesuit missionaries in early colonial North America, offering a complex portrayal of cultural clashes and mutual misunderstandings.
It is essential to highlight the accomplishments of Amerindian societies prior to the Columbus invasion, as many U.S. schools do not extend their teaching of Indigenous history beyond the 19th century. These societies contrast with the depictions often seen in Hollywood Westerns, as they were the original inhabitants and owners of their lands. Above all, they were highly civilized communities. Documented evidence and archaeological discoveries on the continent substantiate this. In regions such as Peru, Bolivia, Chile, Mexico, and Ecuador, Amerindian societies upheld principles of gender equality. There are concrete historical cases illustrating the significance of women, who held positions of great power and exerted influence in politics, society, religion, and the economy. Moreover, these societies exhibited m ore tolerance and acceptance of sexual diversity, with no records of people being judged or persecuted for their sexual orientation. These ancient cultures also engaged in urban projects and sustainable lifestyles. In places like Peru and Mexico, they implemented innovative practices, such as recycling waste and efficiently utilizing land to construct grand monuments that celebrated their societies. Remarkably, these practices predate the discussions on sustainability that began in the 1980s. While pre-Columbian societies certainly maintained social differences and variations in access to resources and food, there is no evidence of extreme or widespread poverty during those times.
Native American indigenous narratives extend beyond the confines of the Western genre. In the 1990s, South African director Jonathan Wacks achieved Sundance success with 'Powwow Highway', a vibrant and lighthearted road movie that follows two Cheyenne men on a journey to reconnect with their heritage. Disney also ventured into this realm with the politically romanticized yet Indigenous-positive 'Pocahontas' that even carries stereotypes, as well as ‘Peter Pan' (1953). A decade later, Terrence Malick presented the young woman's story in 'The New World,' adding a more visceral and visually stunning dimension, alongside a remarkable performance by Q’orianka Kilcher.
Hollywood and the entertainment industry wield immense influence, and along with that influence comes a significant responsibility. Unfortunately, Hollywood has been relatively slow in embracing stories directly from Native American filmmakers. One noteworthy exception is 'Smoke Signals,' a wry and gentle character study directed by Chris Eyre, a Cheyenne-Arapaho filmmaker. The film, released in 1998, revolves around two young men who engage in a spirited exploration of their 'Indian' identity, making it something of a phenomenon. Chris Eyre continued to make his mark in Indigenous cinema by producing 'Imprint,' a compelling drama that follows a Lakota lawyer, portrayed brilliantly by Tonantzin Carmelo, as she reevaluates herself while working on a local murder case. However, despite these exceptional works, few have gained widespread recognition. Recent developments, such as the ribald sitcom 'Reservation Dogs' on Disney+, created by Taika Waititi and indie Native American filmmaker Sterlin Harjo, have begun to fill the void in popular culture. This series represents the first-ever franchise with a majority Indigenous cast, featuring a star-making performance by Midthunder and backed by a predominantly Indigenous production team. Additionally, the TV series 'Rutherford Falls' offers a more in-depth exploration of these themes.
Recent films by outside directors have offered a more empathetic perspective on Native American subjects. Chloé Zhao's 'Songs My Brothers Taught Me' and 'The Rider' capture the elegiac essence of life on reservations, painting poignant portraits. Kelly Reichardt's 'Certain Women' introduces us to Gladstone, a character who provides a modern view of Indigenous femininity, adding depth to the narrative. However, some old habits persist. Taylor Sheridan's otherwise gripping 'Wind River' once again centres the perspective of white authorities in a story of Native injustice. 'Bone Tomahawk,' a vastly entertaining and action-packed western, provocatively hinges on savage Native stereotypes.
For many years, Indigenous Americans remained virtually invisible in pop culture. Looking back on more than 100 years of mainstream films that feature Native Americans, it’s often painful and even traumatizing to see how easily tribes were lumped in together as nameless, faceless hostile “others” who were only a threat to be removed. It wasn't until 2021, with the premieres of 'Rutherford Falls' and 'Reservation Dogs,' that Indigenous people began to find representation both in front of and behind the camera. Prior to this, statistics from the 2019-2020 season, as revealed in the 2021 Hollywood Diversity Report by UCLA, painted a bleak picture, with Indigenous people occupying less than 1% of all TV roles, a mere 1.1% of working TV staff writers, and only 0.8% of employed screenwriters. When Indigenous characters did make appearances on screen, they often succumbed to damaging stereotypes. These included portrayals as the Noble Savage, the Drunk Indian, or the Indian Princess, along with narratives of Indigenous people struggling futilely against John Wayne-type western heroes and the brutalization of Indigenous women. In the past decade, there have been only a handful of positive TV representations of Indigenous people. Notable examples include Zahn McClarnon's roles in HBO's 'Westworld' and FX's 'Fargo,' the character of Ken Hotate portrayed by Comanche and White Mountain Apache actor Jonathan Joss on NBC's 'Parks and Recreation,' and Lou Diamond Phillips, of Cherokee descent, playing a Cheyenne character in 'Longmire.' Despite these positive portrayals, for many Americans, their primary exposure to Indigenous people in mass media had been through racist sports mascots, Halloween costumes, or even as subjects of cultural appropriation.
Unfortunately, negative depictions have also persisted in horror and supernatural genres, with films like 'Wind Walkers' and 'The Dead Can't Dance' drawing from Native American mythology and spirituality. Even simplistic in comedy, films like 'Maiden Heist' and 'Charlie's Angels' (2000) have incorporated comedic elements related to Native American characters and situations.
The American Indian Movement, founded in 1968, aimed to address systemic discrimination against Indigenous Americans. However, despite these efforts, Indigenous stories continued to be predominantly told by white creators and often adhered to the same tired tropes seen in Westerns. These portrayals frequently depicted Indigenous characters as stoic warriors, trapped in a narrative of predestined tragedy and suffering, frozen in the past. The entertainment industry, for a long time, resisted change. An illustrative incident occurred when Sacheen Littlefeather refused Marlon Brando's Oscar, and the iconic Western star John Wayne had to be physically restrained from removing her from the stage.
Now, it's not just about employing Native people as actors and extras or including Native characters in storylines. It's about crafting narratives that genuinely revolve around Native people and their unique perspectives. It's also about having Native individuals involved in various roles behind the scenes - as writers, directors, and producers. While there have been some attempts at inclusion in contemporary dramas, focusing on the lives of present-day Native Americans and addressing issues like cultural identity, social challenges, and family dynamics, there is still a need for more. Films like 'Smoke Signals' and 'The Business of Fancydancing' explore these themes. In addition, biopics delve into the lives of notable Native American individuals, such as Olympic athlete Jim Thorpe or political activist Leonard Peltier, as seen in 'Jim Thorpe – All-American' and 'Incident at Oglala.' There are also family and coming-of-age stories, like 'The Only Good Indian' and 'Frozen River,' which depict the journeys of Native American families and individuals as they navigate challenges and personal growth. Even family-friendly films like 'The Indian in the Cupboard' incorporate magical Native American characters and themes. What's crucial now is the creation of more characters and storylines that capture the complexity and humanity Native American experiences.
2024 has been a massive for the indigenous community. Lily Gladstone became the first female actor identifying as indigenous to win a Golden Globe Award for Killers of the Moon (Martin Scorcese, 2023). Her father is Blackfeet and Nimiipuu, and he taught her Blackfeet culture. She is the first Native American performer to be nominated for the Best Actress in Oscars 2024. Not only her, "The Territory" (Alex Pritz, 2022) won the Exceptional Merit Emmy Award, the documentary set in Amazon rainforest depicts the contemporary conflicts of the indigenous community.
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