Scholarlink

Danis Goulet’s film Night Raiders (Night Raiders. (2021). Directed by Danis Goulet. Performance by Elle-Máijá Tailfeathers, Brooklyn Letexier-Hart, and Alex Tarrant. Los Angeles: XYZ Films) is notable for various reasons. It had the largest production budget and the widest theatrical opening of an Indigenous film in Canada at the time of its release, and it is the first feature length trans-Indigenous film production, bringing together Indigenous filmmakers and actors from Métis and First Nations in what is currently known as Canada and Māori in Aotearo/New Zealand. However, the film is significant beyond this: Through its mobilization of Indigenous post-apocalyptic discourses that conflate past, present, and future, Night Raiders provides a particularly powerful vision of what Rob Nixon has called “slow violence”; a structural condition imposed on Indigenous peoples in North America with the onset of settler colonization. Working toward a narrative resolution, Night Raiders foregrounds Indigenous solidarity and thus highlights the value of Indigenous ways of knowing and being in the resolution of structural injustices. Night Raiders, I argue, exemplifies some of the ways current Indigenous filmmaking puts forward a political aesthetic that not only engages with the various crises we are facing today. It also gestures toward the value of Indigenous perspectives in opening up possibilities of alternative, decolonial futures.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

World-Making After the Apocalypse: Slow Violence, Indigenous Resurgence, and Gestures Toward Decolonial Futures in Danis Goulet’s Night Raiders

  • 章节

  • 发表日期：

    2025年

查看全文
  • Christoph Straub

摘要

Danis Goulet’s film Night Raiders (Night Raiders. (2021). Directed by Danis Goulet. Performance by Elle-Máijá Tailfeathers, Brooklyn Letexier-Hart, and Alex Tarrant. Los Angeles: XYZ Films) is notable for various reasons. It had the largest production budget and the widest theatrical opening of an Indigenous film in Canada at the time of its release, and it is the first feature length trans-Indigenous film production, bringing together Indigenous filmmakers and actors from Métis and First Nations in what is currently known as Canada and Māori in Aotearo/New Zealand. However, the film is significant beyond this: Through its mobilization of Indigenous post-apocalyptic discourses that conflate past, present, and future, Night Raiders provides a particularly powerful vision of what Rob Nixon has called “slow violence”; a structural condition imposed on Indigenous peoples in North America with the onset of settler colonization. Working toward a narrative resolution, Night Raiders foregrounds Indigenous solidarity and thus highlights the value of Indigenous ways of knowing and being in the resolution of structural injustices. Night Raiders, I argue, exemplifies some of the ways current Indigenous filmmaking puts forward a political aesthetic that not only engages with the various crises we are facing today. It also gestures toward the value of Indigenous perspectives in opening up possibilities of alternative, decolonial futures.