Abstract
The Rider is an interesting example for those who seek to decrypt the construction and dissemination of certain preconceptions, or to build links between the daily actions of a people and its identity heritage. Placing the film at the heart of US culture today from the perspective of visual studies makes it easier to understand the minor place attributed to American Indian sport. The technical prowess of young Brady Blackburn leads into an accolade of an ancestral practice and criticism of a North American society that is unable, or unwilling, to truly integrate its minorities. Going against the flow of Hollywood movie directors and the tendency for their sport films to feature a clichéd heroic figure who responds in part to the needs of the general public, Chloé Zhao explores deep into American Indian singularity through a truly initiatory narrative.
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