Smoked Signals and Janosik. Braided Lives of Heroic Outlaws in Cinema. On the Notions of Origin and Identity. Smoke Signals (1998) and Jánošík (1921)

Abstract

Abstract The paper discusses the idea of origin, and the cinematic representation as a means of expression for specific cultural identity. Deriving its theoretical background from the understanding of cultural memory by Assman (1995, via Warburg, 1924 - 1929), and the concept of cultural identity as hybrid (Hall, 1998) the paper argues that the films Jánošík (1921), and Smoke Signals (1998) are examples of sovereign cinematic representations of respective cultural identities (Slovak, and Native American), and both construct cultural identity as hybrid, standing in between, or embracing multiple discourses. Through the depiction of their characters, and opening scenes the article examines the complexity of the film representations as they compromise or subvert existing stereotypes.