The story of westering Americans in the late nineteenth and early twentieth centuries has been told most notably through photographs of American Indians. Unlike this vast archive, produced primarily by male photographers, which depicted American Indians as either vanishing or domesticated, the lesser-known images by the women featured in Trading Gazes provide new ways of seeing the intersecting histories of colonial expansion and indigenous resistance. Four unconventional women-Jane Gay, who documented land allotment to the Nez Perces; Kate Cory, an artist who lived for years in a Hopi community; Grace Nicholson, who purchased cultural items from the Karuk and other northern California tribes; and Mary Schaffer, who traveled among the Stoney and Métis of Alberta, Canada-used cameras to document their cross-cultural encounters. Trading Gazes reconstructs the rich biographical and historical contexts explaining these women's presence in different Native communities of the North American West. Their photographs not only record the unprecedented opportunities available for Euro-American women eager to shed gender restrictions, but also reveal how women's newfound mobility depended on the increasing restrictions placed on Native Americans in this era. By tracing the complex, often unexpected relationships forged between these women, their cameras, and the Native subjects of their photographs, Trading Gazes offers a new focus for recovering women's histories in the West while bringing attention to the complicated legacies of these images for Native and non-Native viewers.

Seisa Jaquez, A partner in an Investment firm. She finds herself a bit of trouble with an unknown pest. Feeling like the world around her is changing and not knowing why and with the help of a friend, she soon finds out what all of the trouble was about. Researching the issue gets her pest extremely protective of its assets and quickly becomes a race to keep Seisa for itself.

During the westward expansion of America, white middle-class ideals of home and domestic work were used to measure differences between white and Native American women. Yet the vision of America as "home" was more than a metaphor for women's stake in the p

The face is central to contemporary politics. In Deleuze and Guattari’s work on faciality we find an assertion that the face is a particular politics, and dismantling the face is also a politics. This book explores the politics of such diverse issues as images and faces in photographs and portraits; expressive faces; psychology and neuroscience; face recognition; face blindness; facial injury, disfigurement and face transplants through questions such as: What it might mean to dismantle the face, and what politics this might entail, in practical terms? What sort of a politics is it? Is it already taking place? Is it a politics that is to be desired, a better politics, a progressive politics? The book opens up a vast field of further research that needs to be taken forward to begin to address the politics of the face more fully, and to elaborate the alternative forms of personhood and politics that dismantling the face opens to view. The book will be agenda-setting for scholars located in the field of international politics in particular but cognate areas as well who want to pursue the implications of face politics for the crucial questions of subjectivity, sovereignty and personhood.

What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works—along with pictures by other non-Native photographers—came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections. In this richly illustrated volume, Nicole Dawn Strathman explores how indigenous peoples throughout the United States and Canada appropriated the art of photography and integrated it into their lifeways. The photographs she analyzes date to the first one hundred years of the medium, between 1840 and 1940. To account for Native activity both in front of and behind the camera, the author divides her survey into two parts. Part I focuses on Native participants, including such public figures as Sarah Winnemucca and Red Cloud, who fashioned themselves in deliberate ways for their portraits. Part II examines Native professional, semiprofessional, and amateur photographers. Drawing from tribal and state archives, libraries, museums, and individual collections, Through a Native Lens features photographs—including some never before published—that range from formal portraits to casual snapshots. The images represent multiple tribal communities across Native North America, including the Inland Tlingit, Northern Paiute, and Kiowa. Moving beyond studies of Native Americans as photographic subjects, this groundbreaking book demonstrates how indigenous peoples took control of their own images and distinguished themselves as pioneers of photography.

Mary Schäffer was a photographer, writer, botanical painter, and mapmaker from Philadelphia, well known for her travels in the Canadian Rockies and Japan at the turn of the twentieth century. In Searching for Mary Schäffer, Colleen Skidmore takes up Schäffer’s own resonant themes—women and wilderness, travel and science—to ask new questions, tell new stories, and reassess the persona of Mary Schäffer imagined in more recent times. Public and private archival collections in the United States and Canada set the stage for this engrossing exploration of Schäffer’s creative, collaborative, and competitive enterprise amid the cultural complexities of Philadelphia’s science and photography communities, and the scientific, tourist, and Indigenous societies of the Rocky Mountains of Canada. “In this impressive book, Colleen Skidmore uses her considerable skills as a social historian of photography to shed new light on the remarkable life of Mary Schäffer. She knows the stories, the characters, and presents a social history that is fresh and convincing. Skidmore’s conclusion is brilliant and will certainly serve as a catalyst for further research and study of Mary Schäffer.” Donna Livingstone, President and CEO, Glenbow Museum

Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the first to put these landmark films in the context of their literary origins and explore how the best Chinese directors adapt fictional narratives and styles for film. Hsiu-Chuang Deppman unites aesthetics with history in her argument that the rise of cinema in China, Hong Kong, and Taiwan in the late 1980s was partly fueled by burgeoning literary movements. Fifth Generation director Zhang Yimou’s highly acclaimed films Red Sorghum, Raise the Red Lantern, and To Live are built on the experimental works of Mo Yan, Su Tong, and Yu Hua, respectively. Hong Kong new wave’s Ann Hui and Stanley Kwan capitalized on the irresistible visual metaphors of Eileen Chang’s postrealism. Hou Xiaoxian’s new Taiwan cinema turned to fiction by Huang Chunming and Zhu Tianwen for fine-grained perspectives on class and gender relations. Delving equally into the individual approaches of directors and writers, Deppman initiates readers into the exciting possibilities emanating from the world of Chinese cinema. The seven in-depth studies include a diverse array of forms (cinematic adaptation of literature, literary adaptation of film, auto-adaptation, and non-narrative adaptation) and a variety of genres (martial arts, melodrama, romance, autobiography, documentary drama). Complementing this formal diversity is a geographical range that far exceeds the cultural, linguistic, and physical boundaries of China. The directors represented here also work in the U.S. and Europe and reflect the growing international resources of Chinese-language cinema. With her sophisticated blend of stylistic and historical analyses, Deppman brings much-needed nuance to current conversations about the politics of gender, class, and race in the work of the most celebrated Chinese writers and directors. Her pioneering study will appeal to all readers, general and academic, who have an interest in Chinese literature, cinema, and culture.

When Scandinavian immigrants and Dakota Indians lived side by side on a turn-of-the-century reservation, each struggled independently to preserve their language and culture. Despite this shared struggle, European settlers expanded their land ownership throughout the period while Native Americans were marginalized on the reservations intended for them. Karen Hansen captures this moment through distinctive, uniquely American voices.

Biography of Kiowa photographer Horace Poolaw, with a study of the cultural and artistic significance of his works, ca. 1925-1945.

BLOOD, STEEL, AND HONOR... Aris Sung is a rising young star in House Hiritsu, noblest of the Warrior Houses that have sworn allegiance to the Capellan Confederation. The Sarna Supremacy, a newly formed power in the Chaos March, is giving the Confederation some trouble—and Aris and his Hiritsu comrades are chosen to give the Sarnans a harsh lesson in Capellan resolve. But there is far more to the mission than meets the eye—and unless Aris beats the odds in a race against time and treachery, all the ferro-fibrous armor in the galaxy won't be enough to save House Hiritsu from the high-explosive cross fire of intrigue and shifting loyalties...