"Anishinaabe" – jej dom.    Krajobraz filmowy w perspektywie indygennego feminizmu

Ilona Copik

doi:10.21697/zk.2025.12.09

Published: 2025-12-15

No. 12 (2025)

Anishinaabe – her Home. The Cinematic Landscape in the Perspective of Indigenous Feminism

Ilona Copik

Cultural Studies Appendix

Section: Artykuły

https://doi.org/10.21697/zk.2025.12.09

Abstract

The subject of the article is the reconstruction of the most important assumptions of Indigenous feminism on the basis of Joyce Green’s concept, following Janice Monk, their application to the ground of classical reflection on the landscape in a gendered context, and, finally, an attempt to formulate research postulates on the possibility of studying the cinema of aboriginal women in this perspective on the example of the films by Canadian director Darlene Naponse. The starting point is the assumption that female and Indigenous experiences of the landscape have their own cultural specificity, and that the cinema created by female directors representing the First Nations is understood as much as a medium of representation as a form of cultural expression, as a manifestation of practices of engagement and activism in social space. The most important issues that this cinematic landscape accumulates are the ones of identity, colonialism, race, patriarchal structures, politics and ecology. The article aims to answer the following questions: (1) What kinds of women’s experiences are mediated by cinematic landscapes? (2) What is the role and power of Indigenous film landscapes in local and global circulation.

Keywords:

Indigenous feminism, Indigenous Cinema, cinematic landscape, Canadian cinema

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Copik, I. (2025). Anishinaabe – her Home. The Cinematic Landscape in the Perspective of Indigenous Feminism . Cultural Studies Appendix, (12), 157–174. https://doi.org/10.21697/zk.2025.12.09

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