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Producing Sovereignty: The Rise of Indigenous Media Canada
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Producing Sovereignty: The Rise of Indigenous Media Canada in Franklin, TN
Current price: $108.00
Barnes and Noble
Producing Sovereignty: The Rise of Indigenous Media Canada in Franklin, TN
Current price: $108.00
Loading Inventory...
Size: Hardcover
Exploring how Indigenous media has flourished across Canada from the 1990s to the present
In the early 1990s, Indigenous media experienced a boom across Canada, resulting in a vast landscape of film, TV, and digital media. Coinciding with a resurgence of Indigenous political activism, Indigenous media highlighted issues around sovereignty and Indigenous rights to broader audiences in Canada. In
Producing Sovereignty,
Karrmen Crey considers the conditionssocial movements, state policy, and evolutions in technologythat enabled this proliferation.
Exploring the wide field of media culture institutions, Crey pays particular attention to those that Indigenous media makers engaged during this cultural moment, including state film agencies, arts organizations, provincial broadcasters, and more.
Producing Sovereignty
ranges from the formation of the Aboriginal Film and Video Art Alliance in the early 1990s and its partnership with the Banff Centre for the Arts to the Canadian Broadcasting Corporation’s 2016 production of
Highway of Tears
an immersive 360-degree short film directed by Anishinaabe filmmaker Lisa Jacksonhighlighting works by Indigenous creators along the way and situating Indigenous media within contexts that pay close attention to the role of media-producing institutions.
Importantly, Crey focuses on institutions with limited scholarly attention, shifting beyond the work of the National Film Board of Canada to explore lesser-known institutions such as educational broadcasters and independent production companies that create programming for the Aboriginal Peoples Television Network. Through its refusal to treat Indigenous media simply as a set of cultural aesthetics,
offers a revealing media history of this cultural moment.
In the early 1990s, Indigenous media experienced a boom across Canada, resulting in a vast landscape of film, TV, and digital media. Coinciding with a resurgence of Indigenous political activism, Indigenous media highlighted issues around sovereignty and Indigenous rights to broader audiences in Canada. In
Producing Sovereignty,
Karrmen Crey considers the conditionssocial movements, state policy, and evolutions in technologythat enabled this proliferation.
Exploring the wide field of media culture institutions, Crey pays particular attention to those that Indigenous media makers engaged during this cultural moment, including state film agencies, arts organizations, provincial broadcasters, and more.
Producing Sovereignty
ranges from the formation of the Aboriginal Film and Video Art Alliance in the early 1990s and its partnership with the Banff Centre for the Arts to the Canadian Broadcasting Corporation’s 2016 production of
Highway of Tears
an immersive 360-degree short film directed by Anishinaabe filmmaker Lisa Jacksonhighlighting works by Indigenous creators along the way and situating Indigenous media within contexts that pay close attention to the role of media-producing institutions.
Importantly, Crey focuses on institutions with limited scholarly attention, shifting beyond the work of the National Film Board of Canada to explore lesser-known institutions such as educational broadcasters and independent production companies that create programming for the Aboriginal Peoples Television Network. Through its refusal to treat Indigenous media simply as a set of cultural aesthetics,
offers a revealing media history of this cultural moment.
Exploring how Indigenous media has flourished across Canada from the 1990s to the present
In the early 1990s, Indigenous media experienced a boom across Canada, resulting in a vast landscape of film, TV, and digital media. Coinciding with a resurgence of Indigenous political activism, Indigenous media highlighted issues around sovereignty and Indigenous rights to broader audiences in Canada. In
Producing Sovereignty,
Karrmen Crey considers the conditionssocial movements, state policy, and evolutions in technologythat enabled this proliferation.
Exploring the wide field of media culture institutions, Crey pays particular attention to those that Indigenous media makers engaged during this cultural moment, including state film agencies, arts organizations, provincial broadcasters, and more.
Producing Sovereignty
ranges from the formation of the Aboriginal Film and Video Art Alliance in the early 1990s and its partnership with the Banff Centre for the Arts to the Canadian Broadcasting Corporation’s 2016 production of
Highway of Tears
an immersive 360-degree short film directed by Anishinaabe filmmaker Lisa Jacksonhighlighting works by Indigenous creators along the way and situating Indigenous media within contexts that pay close attention to the role of media-producing institutions.
Importantly, Crey focuses on institutions with limited scholarly attention, shifting beyond the work of the National Film Board of Canada to explore lesser-known institutions such as educational broadcasters and independent production companies that create programming for the Aboriginal Peoples Television Network. Through its refusal to treat Indigenous media simply as a set of cultural aesthetics,
offers a revealing media history of this cultural moment.
In the early 1990s, Indigenous media experienced a boom across Canada, resulting in a vast landscape of film, TV, and digital media. Coinciding with a resurgence of Indigenous political activism, Indigenous media highlighted issues around sovereignty and Indigenous rights to broader audiences in Canada. In
Producing Sovereignty,
Karrmen Crey considers the conditionssocial movements, state policy, and evolutions in technologythat enabled this proliferation.
Exploring the wide field of media culture institutions, Crey pays particular attention to those that Indigenous media makers engaged during this cultural moment, including state film agencies, arts organizations, provincial broadcasters, and more.
Producing Sovereignty
ranges from the formation of the Aboriginal Film and Video Art Alliance in the early 1990s and its partnership with the Banff Centre for the Arts to the Canadian Broadcasting Corporation’s 2016 production of
Highway of Tears
an immersive 360-degree short film directed by Anishinaabe filmmaker Lisa Jacksonhighlighting works by Indigenous creators along the way and situating Indigenous media within contexts that pay close attention to the role of media-producing institutions.
Importantly, Crey focuses on institutions with limited scholarly attention, shifting beyond the work of the National Film Board of Canada to explore lesser-known institutions such as educational broadcasters and independent production companies that create programming for the Aboriginal Peoples Television Network. Through its refusal to treat Indigenous media simply as a set of cultural aesthetics,
offers a revealing media history of this cultural moment.
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