“Forget What Disney Tells You” Redressing Popular Culture in Elle-Máijá Tailfeathers’ A Red Girl’s Reasoning

Svetlana  Seibel

Articles

Vol. 46 No. 2 (2021): Indigenous Literary Arts of Truth and Redress / Arts littéraires autochtones de vérité et de réparation

“Forget What Disney Tells You” Redressing Popular Culture in Elle-Máijá Tailfeathers’ A Red Girl’s Reasoning

Svetlana Seibel^▸^▾

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Submitted: July 4, 2022
Published: 2022-07-04

References

Acoose, Janice Misko-Kìsikàwihkwè. Iskwewak — kah’ ki yaw ni wahkomakanak: Neither Indian Princess nor Easy Squaw. Women’s Press, 1995.
Anderson, Kim. A Recognition of Being: Reconstructing Native Womanhood. Women’s Press, 2016.
Arnott, Joanne. “She Is Riding.” Charleyboy and Leatherdale, pp. 40-41.
Assu, Sonny. “Personal Totems.” Troubling Tricksters: Revisiting Critical Conversations, edited by Deanna Reder and Linda M. Morra, Wilfrid Laurier UP, 2010, pp. 135-54.
Bulfinch, Thomas. Bulfinch’s Mythology. Canterbury Classics, 2014.
Charleyboy, Lisa, and Mary Beth Leatherdale, editors. #NotYourPrincess: Voices of Native American Women. Annik Press, 2020.
Crystos. “I Am Not Your Princess.” Not Vanishing, Press Gang Publishers, 1985, pp. 66-67.
Culberson, William C. Vigilantism: Political History of Private Power in America. Praeger Publishers, 1990.
Deer, Jessica. “We Are Not a Costume.” Charleyboy and Leatherdale, p. 61.
Deer, Sarah. The Beginning and End of Rape: Confronting Sexual Violence in Native America. U of Minnesota P, 2015.
Deloria, Philip J. Indians in Unexpected Places. UP of Kansas, 2004.
Dillon, Grace L. “Imagining Indigenous Futurisms.” Walking the Clouds: An Anthology of Indigenous Science Fiction, edited by Grace L. Dillon, U of Arizona P, 2012, pp. 1-12.
Finley, Chris. “Decolonizing the Queer Native Body (and Recovering the Native Bull-Dyke): Bringing ‘Sexy Back’ and Out of Native Studies’ Closet.” Queer Indigenous Studies: Critical Interventions in Theory, Politics, and Literature, edited by Qwo-Li Driskill et al., U of Arizona P, 2011, pp. 31-42.
Flowers, Rachel. “Refusal to Forgive: Indigenous Women’s Love and Rage.” Decolonization: Indigeneity, Education and Society, vol. 4, no. 2, 2015, pp. 32-49.
Fontaine, Nahanni. “Reclaiming Indigenous Women’s Rights.” Charleyboy and Leatherdale, p. 25.
Graham-Bertolini, Alison. Vigilante Women in Contemporary American Fiction. Palgrave Macmillan, 2011.
Grant, Kevin. Vigilantes: Private Justice in Popular Cinema. E-book, McFarland, 2020.
Hargreaves, Allison. Violence against Indigenous Women: Literature, Activism, Resistance. Wilfrid Laurier UP, 2017.
Johnson, E. Pauline Tekahionwake. “A Red Girl’s Reasoning.” E. Pauline Johnson Tekahionwake: Collected Poems and Selected Prose, edited by Carole Gerson and Veronica Strong-Boag, U of Toronto P, 2012, pp. 188-202.
Kaveney, Roz. Superheroes! Capes and Crusaders in Comics and Film. I.B. Tauris, 2008.
McLeod, Neal. Cree Narrative Memory: From Treaties to Contemporary Times. Purich Publishing, 2011.
Ndalianis, Angela. “Do We Need Another Hero?” Super/Heroes: From Hercules to Superman, edited by Wendy Haslem et al., New Academia Publishing, 2007, pp. 1-9.
Paul, Heike. The Myths that Made America: An Introduction to American Studies. Transcript Verlag, 2014.
Pocahontas. Directed by Eric Goldberg and Mike Gabriel, Walt Disney Productions, 1995.
A Red Girl’s Reasoning. Directed by Elle-Máijá Tailfeathers, Crazy8s Film Society in association with NDN Girl Productions, 2012. SkinsPlex, skinsplex.com/shows/a-redgirls-reasoning.
“Redress.” Merriam-Webster Online Dictionary, www.merriam-webster.com/dictionary/redress.
Stringer, Rebecca. “From Victim to Vigilante: Gender, Violence, and Revenge in The Brave One (2007) and Hard Candy (2005).” Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema, edited by Hilary Radner and Rebecca Stringer, Routledge, 2011, pp. 268-82.
Tailfeathers, Elle-Máijá. “A Hungry Crew Is Not a Happy Crew.” Vancouver Sun Blogs, 11 Mar. 2012, vancouversun.com/entertainment/movies/a-hungry-crew-is-not-a-happycrew.
van Alst, Theodore C. Jr. “Film in the Blood, Something in the Eye: Voice and Vision in Native American Cinema.” The Routledge Companion to Native American Literature, edited by Deborah L. Madsen, Routledge, 2016, pp. 458-68.
Verstraten, Katelyn. “For Indigenous Women, Radical Art as a Last Resort.” The Tyee, 22 June 2013, thetyee.ca/ArtsAndCulture/2013/06/22/Radical-Art.
Vizenor, Gerald. Survivance: Narratives of Native Presence. U of Nebraska P, 2008.
Womack, Craig S. Art as Performance, Story as Criticism: Reflections on Native Literary Aesthetics. U of Oklahoma P, 2009.

How to Cite

Seibel, S. . (2022). “Forget What Disney Tells You” Redressing Popular Culture in Elle-Máijá Tailfeathers’ A Red Girl’s Reasoning. Studies in Canadian Literature, 46(2), 234–255. Retrieved from https://journals.lib.unb.ca/index.php/SCL/article/view/32930

Copyright Notice

[1] Acoose, Janice Misko-Kìsikàwihkwè. Iskwewak — kah’ ki yaw ni wahkomakanak: Neither Indian Princess nor Easy Squaw. Women’s Press, 1995.

[2] Anderson, Kim. A Recognition of Being: Reconstructing Native Womanhood. Women’s Press, 2016.

[3] Arnott, Joanne. “She Is Riding.” Charleyboy and Leatherdale, pp. 40-41.

[4] Assu, Sonny. “Personal Totems.” Troubling Tricksters: Revisiting Critical Conversations, edited by Deanna Reder and Linda M. Morra, Wilfrid Laurier UP, 2010, pp. 135-54.

[5] Bulfinch, Thomas. Bulfinch’s Mythology. Canterbury Classics, 2014.

[6] Charleyboy, Lisa, and Mary Beth Leatherdale, editors. #NotYourPrincess: Voices of Native American Women. Annik Press, 2020.

[7] Crystos. “I Am Not Your Princess.” Not Vanishing, Press Gang Publishers, 1985, pp. 66-67.

[8] Culberson, William C. Vigilantism: Political History of Private Power in America. Praeger Publishers, 1990.

[9] Deer, Jessica. “We Are Not a Costume.” Charleyboy and Leatherdale, p. 61.

[10] Deer, Sarah. The Beginning and End of Rape: Confronting Sexual Violence in Native America. U of Minnesota P, 2015.

[11] Deloria, Philip J. Indians in Unexpected Places. UP of Kansas, 2004.

[12] Dillon, Grace L. “Imagining Indigenous Futurisms.” Walking the Clouds: An Anthology of Indigenous Science Fiction, edited by Grace L. Dillon, U of Arizona P, 2012, pp. 1-12.

[13] Finley, Chris. “Decolonizing the Queer Native Body (and Recovering the Native Bull-Dyke): Bringing ‘Sexy Back’ and Out of Native Studies’ Closet.” Queer Indigenous Studies: Critical Interventions in Theory, Politics, and Literature, edited by Qwo-Li Driskill et al., U of Arizona P, 2011, pp. 31-42.

[14] Flowers, Rachel. “Refusal to Forgive: Indigenous Women’s Love and Rage.” Decolonization: Indigeneity, Education and Society, vol. 4, no. 2, 2015, pp. 32-49.

[15] Fontaine, Nahanni. “Reclaiming Indigenous Women’s Rights.” Charleyboy and Leatherdale, p. 25.

[16] Graham-Bertolini, Alison. Vigilante Women in Contemporary American Fiction. Palgrave Macmillan, 2011.

[17] Grant, Kevin. Vigilantes: Private Justice in Popular Cinema. E-book, McFarland, 2020.

[18] Hargreaves, Allison. Violence against Indigenous Women: Literature, Activism, Resistance. Wilfrid Laurier UP, 2017.

[19] Johnson, E. Pauline Tekahionwake. “A Red Girl’s Reasoning.” E. Pauline Johnson Tekahionwake: Collected Poems and Selected Prose, edited by Carole Gerson and Veronica Strong-Boag, U of Toronto P, 2012, pp. 188-202.

[20] Kaveney, Roz. Superheroes! Capes and Crusaders in Comics and Film. I.B. Tauris, 2008.

[21] McLeod, Neal. Cree Narrative Memory: From Treaties to Contemporary Times. Purich Publishing, 2011.

[22] Ndalianis, Angela. “Do We Need Another Hero?” Super/Heroes: From Hercules to Superman, edited by Wendy Haslem et al., New Academia Publishing, 2007, pp. 1-9.

[23] Paul, Heike. The Myths that Made America: An Introduction to American Studies. Transcript Verlag, 2014.

[24] Pocahontas. Directed by Eric Goldberg and Mike Gabriel, Walt Disney Productions, 1995.

[25] A Red Girl’s Reasoning. Directed by Elle-Máijá Tailfeathers, Crazy8s Film Society in association with NDN Girl Productions, 2012. SkinsPlex, skinsplex.com/shows/a-redgirls-reasoning.

[26] “Redress.” Merriam-Webster Online Dictionary, www.merriam-webster.com/dictionary/redress.

[27] Stringer, Rebecca. “From Victim to Vigilante: Gender, Violence, and Revenge in The Brave One (2007) and Hard Candy (2005).” Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema, edited by Hilary Radner and Rebecca Stringer, Routledge, 2011, pp. 268-82.

[28] Tailfeathers, Elle-Máijá. “A Hungry Crew Is Not a Happy Crew.” Vancouver Sun Blogs, 11 Mar. 2012, vancouversun.com/entertainment/movies/a-hungry-crew-is-not-a-happycrew.

[29] van Alst, Theodore C. Jr. “Film in the Blood, Something in the Eye: Voice and Vision in Native American Cinema.” The Routledge Companion to Native American Literature, edited by Deborah L. Madsen, Routledge, 2016, pp. 458-68.

[30] Verstraten, Katelyn. “For Indigenous Women, Radical Art as a Last Resort.” The Tyee, 22 June 2013, thetyee.ca/ArtsAndCulture/2013/06/22/Radical-Art.

[31] Vizenor, Gerald. Survivance: Narratives of Native Presence. U of Nebraska P, 2008.

[32] Womack, Craig S. Art as Performance, Story as Criticism: Reflections on Native Literary Aesthetics. U of Oklahoma P, 2009.