This paper focuses on the evolving policies relevant in the twentieth century and the underlying ideologies by looking at the representation of Native Americans in popular culture. Both, contemporary policy and ideology, are formative powers that influence popular culture. Then again, popular culture, especially the medium of film, is a purveyor of national ideologies, values, and trends to society. Here, it will be argued that the shifting policies on Native Americans are reflected in their representation in the cinematic productions of "The last of the Mohicans".
A diachronic analysis will help to filter out both changes and consistencies of the popular perspective on American Indians in film throughout the last century. In order to do so, four filmic versions of "The last of the Mohicans" will be examined: the 1920 silent movie, the 1936, the 1977, as well as the 1992 release. Analyzing representational tools, their functions, and the preferred reading within each movie – as coined by Stuart Hall – and a comparison between the movies will constitute the theoretical approach and will help to pinpoint ideological functions and the role of policy at the time of each of the adaptions. The focus of scene analysis will be on the depiction of violence on the one hand, and on relationship dynamics between Native Americans and Whites on the other hand.
Table of Contents
1. Introduction
2. James Fenimore Cooper’s Last of the Mohicans
3. Last of the Mohicans 1920: Assimilation
4. Last of the Mohicans 1936: Indian Reorganization Act
5. Last of the Mohicans 1977: Civil Rights Movement
6. Last of the Mohicans 1992: Continuity
7. Résumé
Research Objectives and Themes
This paper examines how shifting federal policies towards Native Americans during the twentieth century are reflected in the cinematic representations of James Fenimore Cooper's "The Last of the Mohicans." By analyzing four distinct film adaptations from 1920, 1936, 1977, and 1992, the study explores the evolution of ideological frameworks, specifically focusing on the depiction of violence and the changing dynamics between Native American and white characters within popular culture.
- Diachronic analysis of Native American representation in film.
- Influence of federal policies (allotment, Indian Reorganization Act, self-determination) on cinematic narratives.
- Examination of the "myth of the Vanishing Indian" across different historical eras.
- Comparison of ideological functions regarding race, violence, and colonial history in four specific adaptations.
Excerpt from the Book
Last of the Mohicans 1977: Civil Rights Movement
A very strong theme is the recognition of white guilt. Repeatedly in the movie, the evils of European settlers done to Native tribes are emphasized, most times by a white person: La Longue Carabine alias Hawkeye. As the main character of this adaption and his role as the heroic white explorer of the west, helping settlers in need, his voice carries authority and sincerity – particularly, as his own story is affected by the injustices and violence of white colonialists as much as of Natives. His own sister, he recalls in an emotional moment, died in a massacre which was originally caused by white land speculators who, in their greed, managed to turn different tribes against each other. Hawkeye explains that the Mohicans protected the white settlers in that attack, which everyone of the tribe but Chingachgook and his son Uncas survived. Hundreds were killed that are now buried in a sacred burial place – “red and white alike” (min. 43).
Like in the 1936 movie, Magua gets to explain his motives for his actions, but this time he speaks more than just one sentence. He tells Cora: “You people have nothing to be proud of. When the British first come, they ask only to move wagons through our land. Soon they ask no more. They took, and when we refused, they tricked us into slavery and whipped us like dogs. Are you proud of this?” (min. 34), at which he exposes his back which is covered with scars. James L. Conway, who directed the movie, is not afraid of showing injustices committed against American Indians, – even though Magua is the main antagonist of the plot –, and to point the fingers directly to the colonialists.
Summary of Chapters
1. Introduction: This chapter outlines the historical evolution of federal Indian policy and introduces the central thesis that cinematic productions reflect these shifting political ideologies and popular myths.
2. James Fenimore Cooper’s Last of the Mohicans: An overview of the original 1826 novel, exploring its role in establishing American nationalism and the myth of the "Vanishing Indian" during a period of expansionism.
3. Last of the Mohicans 1920: Assimilation: This chapter analyzes the 1920 silent film, demonstrating how the era's allotment policy and prevalent racism fostered a depiction of Natives as "savage" and destined for disappearance.
4. Last of the Mohicans 1936: Indian Reorganization Act: An examination of the 1936 version, which reflects the shift toward the Indian New Deal through a more sympathetic, though still Eurocentric, portrayal of Native characters.
5. Last of the Mohicans 1977: Civil Rights Movement: This section details how the 1977 film incorporates the spirit of the Civil Rights era and Native activism, focusing on white guilt and the critique of colonial injustices.
6. Last of the Mohicans 1992: Continuity: An analysis of the 1992 remake, which continues the trend of improved representation but remains tethered to white-centric narrative structures and established Hollywood tropes.
7. Résumé: The conclusion synthesizes findings, noting that while stereotypes have decreased over time, the "Last of the Mohicans" source material inherently perpetuates the "Vanishing American" myth.
Keywords
Native Americans, The Last of the Mohicans, Film Adaptation, Federal Indian Policy, Assimilation, Indian Reorganization Act, Civil Rights Movement, Representation, Myth of the Vanishing Indian, Colonialism, Stereotyping, White Guilt, Self-determination, Popular Culture, Cinematic History.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper explores the diachronic representation of Native Americans in film by analyzing four distinct adaptations of "The Last of the Mohicans" released between 1920 and 1992.
How does federal policy influence the films discussed?
The author argues that federal policies, such as the General Allotment Act or the shift toward self-determination in the 1970s, create the ideological climate that informs how Native Americans are portrayed in each specific film adaptation.
What is the main research question?
The study asks how shifting American policies and prevailing cultural ideologies regarding Native Americans are reflected and negotiated within the cinematic productions of the twentieth century.
Which methodology does the author employ?
The author uses a comparative analysis of representational tools, scene analysis (specifically regarding violence and relationship dynamics), and contextualizes these findings within American political history.
What themes dominate the main body of the text?
The body chapters focus on the transition from the racist, assimilationist imagery of the 1920s to the more politically aware and sympathetic portrayals influenced by the Civil Rights movement.
Which keywords characterize this analysis?
Key terms include Native American representation, federal policy, the "myth of the Vanishing Indian," cinematic adaptation, and colonial critique.
How does the 1992 film differ from the 1920 original?
While the 1920 film uses dehumanizing tropes and one-sided violence, the 1992 version attempts a more balanced perspective, though it ultimately relies on a white-centric narrative structure.
What role does the "myth of the Vanishing Indian" play in these films?
The author identifies this myth as a recurring element in all adaptations, serving to justify past land displacement and the eventual decline of Native American cultures as an "inevitable" historical outcome.
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- Michael Simon (Autor:in), 2017, Native American Representation in “The Last of the Mohicans”, München, GRIN Verlag, https://www.grin.com/document/960693
