Angles (Apr 2020)
The Hollywood Indian Stereotype: The Cinematic Othering and Assimilation of Native Americans at the Turn of the 20th Century
Abstract
This paper intends to demonstrate that the misrepresentation of Native Americans in cinema furthers the logic of differentiation at play in popular culture, focalizing on an irreconcilable enemy image upon which the American self is constructed. The Indian looking glass magnifies America’s lack of self-knowledge. Following Frederic Jackson Turner’s theory of the frontier and the mythologizing of the West at the turn of the 20th century, the Hollywood industry recycled the dual stereotype of the noble Indian and the bloodthirsty savage. This dichotomy deployed through American cinema and literature fits the evolving curve that defines the limits of a cohesive norm and the dominant vision of what the country is, of what it means to be American. As powerful social agents, movies from the period helped shape the way America thought about Native Americans and contributed to a rewriting of History, summoning those fantasized images manufactured by James Fenimore Cooper’s Leatherstocking Tales, dime novels, the paintings of Frederic Remington, Buffalo Bill’s Wild West Show, or Thomas Edison’s Kinetoscope. I argue that the disappearance of the positive representation of Indians in the 1910s is part of a wider process of assimilation that legitimizes and reinforces the position of white mainstream society. More specifically, this essay investigates the process through which the Hollywood Indian became a necessary ideological tool supporting the All American Hero and the war effort in both World Wars. King Vidor’s Northwest Passage (1940), a work of implicit propaganda used by the National Education Association, makes the Natives an analogy for the Nazis, thus substituting an enemy image for another. George B. Seitz’s The Vanishing American (1925) is also an emblematic example of the use of a dissolving enemy image. As a biased Darwinism inflected the collective consciousness of what was then thought to be their forthcoming extinction, Native Americans had to merge into the conforming frame of the master race, most effectively through the agency of the Office of Indian Affairs and within Indian boarding schools. The Vanishing American culminates with its main character’s demise: Nophaie’s sacrifice proves the two races can never be mixed, and that if assimilation is to take place, it is only through a whitening process that would lead to the obliteration of the Natives. When Nophaie dies, the moment of his passing is described through a skin color change, his face turning white. While the end of the twenties marked the arrival of synchronized-sound cinema, the Natives lingered “voiceless into the margins”, as a silent mirror image that could not speak, epitomizing what the American self was not (Kilpatrick 1999). To this day, white imagination remains unable to articulate the other’s language and to see beyond these immutable images.
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