Abstract
Indigenous peoples have been misrepresented and underrepresented in media since the dawn of cinema, but they have never stopped telling their own stories and enacting agency. It is past time to recognize them on their own terms. To facilitate that, academics, activists, and industry partners can fund, hire, teach, and share more Black, Indigenous and people of color (BIPOC) led projects. The uniqueness of 2020 with COVID-19, Black Lives Matter and human rights movements, and the move online by many academics and organizations have deepened conversations about systemic inequities, such as those in media industries. To address the often-heard film industry excuse, “I don’t know anyone of color to hire,” the Nia Tero Foundation has created Kin Theory, an Indigenous media makers database, that is having a dynamic, year-long launch in 2021.
Highlights
Kin Theory is being developed to be global in scope, celebrating the multiplicity of Indigenous national cinemas and the power of narrative sovereignty
This paper demonstrates ways in which Kin Theory is striving to Indigenize the film industry through collaborations, coalition building, and co-liberation joy
This paper discusses the impacts of media misrepresentations and erasure, the foundations of Kin Theory, and introduces the potential for Indigenous national cinemas and narrative sovereignty
Summary
Celebrating Indigenous National Cinemas and Narrative Sovereignty through the Creation of Kin To address the often-heard film industry excuse, “I don’t know anyone of color to hire,” the Nia Tero Foundation has created Kin Theory, an Indigenous media makers database, that is having a dynamic, year-long launch in 2021. Kin Theory is being developed to be global in scope, celebrating the multiplicity of Indigenous national cinemas and the power of narrative sovereignty.
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