What is it about?
This article is about The Revenant, its representation of Native American peoples and the way it is both an anticolonialist and colonialist film. It explores Western tropes that The Revenant resists in its representation of indigenous Americans and those that it reproduces.
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Why is it important?
It's a unique and important article because it seeks to shed light on Alejandro Gonzalez' Inarritu's film in a way that reveals its interstitial quality, somewhere in between the representational norms of the U.S. film industry and the director's own auteurist vision which is rooted in the Global South
Perspectives
I find that a lot of English language perspectives on Inarritu's English language films don't always take into account the peripheral position of the director and how this impacts on the narratives he choses to tell and the way in which he choses to tell them. I like to make evident the transnational connections in his filmmaking style through close textual and contextual analysis of his films.
Dolores Tierney
University of Sussex
Read the Original
This page is a summary of: Interrogating (neo)colonialism in the contemporary western: Alejandro González Iñárritu’s The Revenant (2015), Studies in Spanish & Latin-American Cinemas, March 2021, Intellect,
DOI: 10.1386/slac_00038_1.
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