1. Representation and memory Visions of the “primitive” and how to subvert them

2. Image making and power Photography and objectification – Who takes photographs and films? – For what audience? – What do they intend to show?

3. “Primitive” contrasts What ‘they’ don’t have (but we have): 1.Technology 2.Education 3.Reason 4.Individuality What ‘they’ have (but we don’t): 1.Innocence or backwardness 2.Rituals 3.Emotions 4.Strong group conformity

4. As Errington argues “Good primitive” Innocent Close to nature Corrupted by civilization “Bad primitive” Evil and violent Animalistic Civilization needs to reform them

5. Film treatments… Good, decent people threatened and overwhelmed by horrible ones Drums along the Mohawk (1939) Starship Troopers (1997) Zulu (1964)

6. King Kong (1933, 2005, 1976)

7. The “tribals with technology” trope The separate worlds of civilization and the “primitive” are joined Point is humor and irony – Bizarre counterpoint – Emphasizes difference/isolation/naivety

9. Nanook of the North Nanook and the gramophone…gramophone

10. Photography and film Film and photography in particular foster fixed ideas of other cultures Early in 20 th c. used to “capture” images of lifestyles that were expected to disappear – Images had to conform to notions of what “authentic primitives” were supposed to look like

11. Edwards S. Curtis’s photographic compendium of the American Indian 25 year project that was intended to last only 5 years. Ambitious, ambiguous, and complex in its execution and its outcomes

12. As representation Constructs and perpetuates tropes of primitivism – Nature – Difference/distance from (white) civilization – Non-technological – But with strong emphasis upon its positive elements

13. Art world audiences.. With socio-political changes, Curtis’s audience has widened – How do Native Americans look upon these images today? – Are representations condemned to reflect only one kind of view?