First global exploration of contemporary forms of filmmaking from political and cultural self-determination movements of Autochthonous communities and peoples. Film X Autochthonous Struggles Today brings together for the first time filmmakers, activists, film curators, and scholars who share a common interest in filmmaking practices that emerge from and participate in the various situations of struggle that the Autochthonous/Indigenous/Native/Aboriginal/First Nations peoples and communities are involved in worldwide.
Starting with the Edison Studio's 1894 short films
Buffalo Dance and
Sioux Ghost Dance, representations of Autochthonous peoples have been part of cinema right from its inception. The vast majority of these representations, however, have not been produced by nor for Autochthonous peoples. In the wake of political and cultural self-determination movements of the 1960s and 1970s, and with the gradual democratization and accessibility of the tools of moving-image making, Autochthonous communities have displaced and renewed cinema's forms and means of production, increasingly reclaiming their right for self-representation by way of film and video.
Along with the vibrant forms of moving images arising from within the communities, close to their existential concerns, filmmaking has also become a potent tool in Autochthonous struggles. This book answers the need to take a global look at the diverse ways of filmmaking that fight for land rights and against environmental injustice (Brazil, Morocco, Taiwan, USA), that resist neocolonial domination, economic and political exploitation (Japan, Philippines), that offer a counterpoint during low intensity or drawn-out armed conflicts (Colombia, Mexico), that invent strategies of counter information and representation (Australia, Canada, Russia, Samoa), and that strive for visibility.
ContributorsMyrla Baldonado, Mayaw Biho, Nadir Bouhmouch, Ricardo Matos Cabo, Carolina Canguçu, Amaranta Cesar, Karrabing Film Collective, Rupert Cox, Nicolas Défossé, Etienne De France, Sophie Gergaud, John Gianvito, David Harper, Aurélie Journée-Duez, Blackhouse Lowe, Caroline San Martin, Laura Langa Martínez, Isael Maxakali, Sueli Maxakali, Dan Taulapapa Mcmullin, Chie Mikami, Francisco Vázquez Mota, Omar Moujane, Marie Pierre-Bouthier, Perrine Poupin, Ariel Arango Prada, Beatriz Rodovalho, Roberto Romero, Jonathan Sims, Mercedes Vicente, Jamahke Welsh
首次全球探索當代電影製作形式，聚焦於自決運動中的土著社群與人民的政治與文化。
《電影 X 土著鬥爭今日》首次匯聚了電影製作人、活動家、電影策展人和學者，他們共同關注於源自土著/原住民/本土/澳洲原住民/第一民族人民及社群所參與的各種鬥爭情境中的電影製作實踐。
自愛迪生工作室1894年的短片《水牛舞》和《蘇族鬼舞》以來，土著人民的表現形式便是電影的一部分。然而，絕大多數這些表現並非由土著人民製作或為其而製作。在1960年代和1970年代政治與文化自決運動的背景下，隨著影像製作工具的逐漸民主化和可及性，土著社群重新塑造了電影的形式和生產方式，越來越多地通過電影和視頻主張自我表現的權利。
伴隨著社群內部出現的生動影像形式，與其生存關切密切相關，電影製作也成為土著鬥爭中的一個強大工具。本書回應了全球性需求，探討了多樣的電影製作方式，這些方式為土地權利而戰，對抗環境不公（巴西、摩洛哥、台灣、美國），抵抗新殖民統治、經濟和政治剝削（日本、菲律賓），在低強度或持久的武裝衝突中提供反思（哥倫比亞、墨西哥），發明反信息和表現的策略（澳洲、加拿大、俄羅斯、薩摩亞），並努力爭取可見性。
貢獻者：Myrla Baldonado、Mayaw Biho、Nadir Bouhmouch、Ricardo Matos Cabo、Carolina Canguçu、Amaranta Cesar、Karrabing Film Collective、Rupert Cox、Nicolas Défossé、Etienne De France、Sophie Gergaud、John Gianvito、David Harper、Aurélie Journée-Duez、Blackhouse Lowe、Caroline San Martin、Laura Langa Martínez、Isael Maxakali、Sueli Maxakali、Dan Taulapapa Mcmullin、Chie Mikami、Francisco Vázquez Mota、Omar Moujane、Marie Pierre-Bouthier、Perrine Poupin、Ariel Arango Prada、Beatriz Rodovalho、Roberto Romero、Jonathan Sims、Mercedes Vicente、Jamahke Welsh。
Nicole Brenez teaches Cinema Studies at the Sorbonne Nouvelle and heads the department of Analysis and Cinematographic Culture at La Fémis. She is a longtime curator of avant-garde cinema at the Cinémathèque française and has extensively published on experimental and political film practices.
Jonathan Larcher is a post-doctoral researcher at Paris Nanterre Université. He received his PhD in anthropology at the EHESS and was a post-doctoral fellow at the New Europe College and the Eur ArTeC. He is currently working on the preservation of the video archives of the political collective Promedios (Mexico).
Alo Paistik is active as a researcher and educator in France, Germany, and Estonia, focusing on media history and politically engaged media practices. He is also the co-editor of forthcoming books on the oeuvre of Italian artists-filmmakers Yervant Gianikian and Angela Ricci Lucchi and on the work of American filmmaker and educator John Gianvito.
Skaya Siku (Seejiq Truku people) received a Ph.D. in visual anthropology at the EHESS. She currently works as an assistant research fellow at the National Academy for Educational Research in Taiwan and contributes to the development of Indigenous cultural activism through diverse educational research and artistic projects.
妮可·布雷內茲（Nicole Brenez）在索邦新大學教授電影研究，並擔任法國電影學院（La Fémis）電影分析與文化系的系主任。她長期擔任法國電影資料館（Cinémathèque française）前衛電影的策展人，並在實驗性和政治電影實踐方面發表了大量著作。
喬納森·拉爾切（Jonathan Larcher）是巴黎南泰爾大學（Paris Nanterre Université）的博士後研究員。他在高等社會科學研究院（EHESS）獲得人類學博士學位，並曾在新歐洲學院（New Europe College）和歐洲藝術與科技中心（Eur ArTeC）擔任博士後研究員。他目前正在進行墨西哥政治集體Promedios的視頻檔案保存工作。
阿洛·派斯提克（Alo Paistik）在法國、德國和愛沙尼亞擔任研究員和教育工作者，專注於媒體歷史和政治參與的媒體實踐。他也是即將出版的書籍的共同編輯，這些書籍將探討意大利藝術家兼電影製作人耶爾萬特·吉安基安（Yervant Gianikian）和安吉拉·里奇·盧基（Angela Ricci Lucchi）的作品，以及美國電影製作人和教育者約翰·吉安維托（John Gianvito）的作品。
斯卡雅·西庫（Skaya Siku，西吉克·特魯庫族）在高等社會科學研究院（EHESS）獲得視覺人類學博士學位。她目前在台灣國家教育研究院擔任助理研究員，並通過多樣的教育研究和藝術項目，為原住民文化行動主義的發展做出貢獻。
