From the day when the first settlers landed on the American coast it had been reported back to their people in Europe what the Native population is like and how they create their cultural lives. Since that time, Native Americans have been externally conceptualized in various forms, as for example in form of the ‘noble savage’ or the ‘vicious savage’, and almost never as having a sense of humor (Gruber 142). Humor in connection with Native American characters has among other reasons been avoided by image makers for it would have allowed recipients to identify with such human characteristics (Gruber 7). This would have meant to invalidate a powerful colonial ‘casting mold’ for dehuminazing stereotypical images about Nativeness. This hegemonic tool proves to be the most enduring one of colonization by replacing guns and troops (Gruber 157) with occupied Non-Native minds. Filmic representation perpetuated these distorted ideas about Native Americans further by drawing on those widespread clichés and inventing new ones (Gruber 142; Mihelich 130), as for example the Native American ‘ecologist’ (Cornell 109) or the spiritual ‘shaman’ living in absolute piece with nature. Thus, till today Native Americans are confronted with the task of dealing with biased images of themselves which are externally imposed on them by the surrounding dominance of Non-Native societies and discourses.
In this paper I will discuss how Native filmmakers Chris Eyre and Sherman Alexie effectively use just this powerful genre of popular culture to tackle habituated representations of Native Americans and offer Native versions of Nativeness. In Smoke Signals (1998) they rework and transform existing stereotypes by creating a meta level on which the powerful mechanism of image making is exposed. This meta level can be established through the use of humor (Gruber 35).
I will fill a desideratum in this context by breaking the concept of ‘humor’ down into its single aspects and then applying those to humorous material in Smoke Signals whereby distilling various strategies, not only the means for survival, which are used to pursue the subversive aim. In a structural approach I will have a closer look at which aspects of humor are actually used and what kinds of strategies originate from them considering a mixed audience consisting of Native as well as Non-Native viewers.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Concepts of Humor
- Irony
- Dramatic Irony
- Parody
- Burlesque
- Intertextuality
- Analysis of Humor and Pursued Strategies in Smoke Signals (1998)
- Humor as a Spoon Full of Sugar
- Humor as Liminal Space
- Humor as Antiseptic Healer for Survival
- Humor as Testing Device for and Promoter of Native Identity
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper explores the use of humor in the film "Smoke Signals" (1998) to challenge stereotypical representations of Native Americans and present an alternative perspective on Native identity. It examines how humor functions as a subversive tool to expose the limitations of colonial representations and offer Native voices and perspectives.
- The use of humor in "Smoke Signals" to subvert and challenge stereotypical representations of Native Americans.
- The role of humor as a tool for survival and resistance against dominant, non-Native narratives.
- The exploration of humor as a means to negotiate identity and belonging within the context of Native American culture.
- The analysis of different forms of humor, including irony, dramatic irony, parody, burlesque, and intertextuality, in the film.
Zusammenfassung der Kapitel (Chapter Summaries)
- Introduction: This chapter sets the context for the paper by discussing the historical misrepresentation of Native Americans in popular culture, highlighting the pervasive stereotype of the 'noble savage' and its impact on how Native identities are perceived. It then introduces the film "Smoke Signals" as a significant example of Native filmmaking that challenges such stereotypes.
- Concepts of Humor: This chapter provides a theoretical framework for understanding humor, focusing on the concept of irony and its various manifestations. It explores how irony can be used to subvert dominant discourses and create a space for alternative perspectives.
- Analysis of Humor and Pursued Strategies in Smoke Signals (1998): This chapter delves into the analysis of humor in "Smoke Signals," examining the various strategies employed by the filmmakers to utilize humor for social commentary, identity construction, and cultural resistance. It explores how humor functions as a tool for survival, healing, and the promotion of Native identity.
Schlüsselwörter (Keywords)
The keywords that encompass the main focus areas of this work include Native American representation, humor, film analysis, "Smoke Signals," subversion, identity, stereotyping, colonialism, and cultural resistance. These terms highlight the study's focus on examining how humor is used as a powerful tool to challenge dominant narratives and promote diverse representations of Native identity within the context of the film "Smoke Signals."
- Quote paper
- Annika Onken (Author), 2010, Humor and Its Pursued Strategies in "Smoke Signals" (1998), Munich, GRIN Verlag, https://www.grin.com/document/187863
