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Film and Archaeology in the Indigenous and Industrial American West

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Film and Archaeology in the Indigenous and Industrial American West. / Fish, Adam.
In: Visual Anthropology, Vol. 24, No. 3, 2011, p. 246-265.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Fish, A 2011, 'Film and Archaeology in the Indigenous and Industrial American West', Visual Anthropology, vol. 24, no. 3, pp. 246-265. https://doi.org/10.1080/08949468.2010.508938

APA

Fish, A. (2011). Film and Archaeology in the Indigenous and Industrial American West. Visual Anthropology, 24(3), 246-265. https://doi.org/10.1080/08949468.2010.508938

Vancouver

Fish A. Film and Archaeology in the Indigenous and Industrial American West. Visual Anthropology. 2011;24(3):246-265. doi: 10.1080/08949468.2010.508938

Author

Fish, Adam. / Film and Archaeology in the Indigenous and Industrial American West. In: Visual Anthropology. 2011 ; Vol. 24, No. 3. pp. 246-265.

Bibtex

@article{dfa693aa034e486b81b3dcf2aaf2fe2e,
title = "Film and Archaeology in the Indigenous and Industrial American West",
abstract = "Phenomenological and postcolonial archaeologies of film bracket the artifactual images and historical narratives in two films depicting hydraulic industrialization in the 20th-century Native American West of the United States. The documentary Echoes of Yesterday [Ball and Gibby 1939, 1979] consists of industrial and archaeological footage shot in 1939 and remixed in 1979 which depicts the building of the Grand Coulee Dam in Washington State, the relocating of indigenous villages there, and disinterring of Native American dead. The independent magical realism film Northfork [Polish 2003] is based on the building of the Fort Peck Dam on the Missouri River in Montana and the subsequent relocation of people and graves in that area. Both films animate the historic Modern period (1934–1975) and present the cultural losses, nostalgia and redemption attendant in a transition to a Supermodern period (1975–present).",
author = "Adam Fish",
year = "2011",
doi = "10.1080/08949468.2010.508938",
language = "English",
volume = "24",
pages = "246--265",
journal = "Visual Anthropology",
issn = "1545-5920",
publisher = "Taylor and Francis Ltd.",
number = "3",

}

RIS

TY - JOUR

T1 - Film and Archaeology in the Indigenous and Industrial American West

AU - Fish, Adam

PY - 2011

Y1 - 2011

N2 - Phenomenological and postcolonial archaeologies of film bracket the artifactual images and historical narratives in two films depicting hydraulic industrialization in the 20th-century Native American West of the United States. The documentary Echoes of Yesterday [Ball and Gibby 1939, 1979] consists of industrial and archaeological footage shot in 1939 and remixed in 1979 which depicts the building of the Grand Coulee Dam in Washington State, the relocating of indigenous villages there, and disinterring of Native American dead. The independent magical realism film Northfork [Polish 2003] is based on the building of the Fort Peck Dam on the Missouri River in Montana and the subsequent relocation of people and graves in that area. Both films animate the historic Modern period (1934–1975) and present the cultural losses, nostalgia and redemption attendant in a transition to a Supermodern period (1975–present).

AB - Phenomenological and postcolonial archaeologies of film bracket the artifactual images and historical narratives in two films depicting hydraulic industrialization in the 20th-century Native American West of the United States. The documentary Echoes of Yesterday [Ball and Gibby 1939, 1979] consists of industrial and archaeological footage shot in 1939 and remixed in 1979 which depicts the building of the Grand Coulee Dam in Washington State, the relocating of indigenous villages there, and disinterring of Native American dead. The independent magical realism film Northfork [Polish 2003] is based on the building of the Fort Peck Dam on the Missouri River in Montana and the subsequent relocation of people and graves in that area. Both films animate the historic Modern period (1934–1975) and present the cultural losses, nostalgia and redemption attendant in a transition to a Supermodern period (1975–present).

U2 - 10.1080/08949468.2010.508938

DO - 10.1080/08949468.2010.508938

M3 - Journal article

VL - 24

SP - 246

EP - 265

JO - Visual Anthropology

JF - Visual Anthropology

SN - 1545-5920

IS - 3

ER -