Carlen's Blog
The documentary Reel Injun explores the deep-rooted issue of Indigenous representation, misrepresentation, and erasure in Hollywood. The central conflict in the documentary is found between Hollywood’s stereotypical portrayal of Indigenous peoples and the reality of their diverse cultures, identities, and histories. Hollywood has long perpetuated a narrow, pan-Indigenous image that distorts and homogenizes many distinct groups across an entire continent. This portrayal has shaped many different cultures, groups, and identities in their being, understandings, and worldviews.
The “Injun” image portrayed in Hollywood films draws from a number of different groups, mostly from around the Great Plains region. Regalia, like the headdress, is treated as a generic costume and refuses to acknowledge its cultural and ceremonial significance. The stereotype is typically one of two extremes: the “savage” warrior or the wise elder, with little nuance in between. This stereotype is often represented with painted skin, scant buckskin clothing, long flowing hair, and a stoic demeanour. Missing from the film is the third representation of the warmly dressed Inuit who live in igloos and ride polar bears. These one-dimensional depictions reduce Indigenous characters to primitive enemies, romanticized objects, or silent brutes, as seen in characters like Chief Bromden from One Flew Over the Cuckoo’s Nest.
Rather than drawing from authentic sources, Hollywood recycles and distorts its own distorted portrayals, further twisting the image over time, much like the game of Telephone. The studio executives, producers, and directors stand as gatekeepers to the film industry, deciding who will play who and what stories are told. Historically, these gatekeepers are all white men who benefit from maintaining these colonial narratives and not platforming true Indigenous voices or faces. With the industry monopolized by major studios, Indigenous creators have faced barriers to funding and exposure. These misrepresentations reinforce colonial interests by justifying past and ongoing oppression, depicting Indigenous peoples as relics of the past rather than as members of contemporary, thriving communities.
In Canada, where American media is a dominant force, these portrayals have serious consequences. Misrepresentations, such as the “lazy and drunk” Indigenous stereotype, permeate throughout society, seeping into public perception, shaping biases, and influencing systemic issues like policing. In the U.S., black and brown communities face targeted policing; in Canada, the communities targeted by police are often Indigenous communities, where Indigenous folks are disproportionately criminalized or disregarded by law enforcement. Would the response to missing and murdered white men and boys be the same as that to Missing and Murdered Indigenous Women and Girls? The history of colonial oppression and biased media narratives suggests otherwise.
Overall, the documentary Reel Injun was an engaging and thought-provoking film. I appreciated the dry humour and the ability of the filmmaker to just listen, even when somebody is saying or doing something I would have a hard time being quiet about. Sitting and observing the behaviours of the children’s camp or the cowboy guys without interjecting or pushing back made for an eye-opening experience. Rather than just simply criticizing Hollywood, the film highlights Indigenous storytellers, actors, and other important voices working to reclaim Indigenous storytelling and representation in film. It challenges its viewers to critically analyze the media they consume and understand how these misrepresentations go beyond the screen, shaping social attitudes and policies in the world.