Photography and Film
The historic visual depictions of the American West through photography and film are intertwined with complicated histories of exploration, expansion, and cultural representation of the Indigenous people living there. Visual representations of Native Americans played a significant role in shaping perceptions and oftentimes, misperceptions and stereotypes.
Photography
Beginning in the mid-19th century with the emergence of photography as a new medium, these images often framed Native Americans as exotic, “other,” or even as a “vanishing race.” Edward Curtis’s The North American Indian series is the most well-known example of this type of photography. Though visually compelling, his photographs were sometimes staged to reflect romanticized notions of Indigenous peoples. Photographs were used in other ways as well. Photographic documentation by the United States Government was used for ethnographic surveys that could be used in census records, land surveys, and to promote U.S. policies related to assimilation, such as Indian boarding schools.
The photographic medium, just as today, was also used as a way to visually record life and family. Photography studio portraits and photographic albums can be found in archival collections across the United States. The photographs in the gallery found below on the left, are from the Dickinson Research Center at the National Cowboy & Western Heritage Museum. These photographs are from two collections that we viewed - the J.E. Jones Photographic Album Collection and the George A. Addison Studio Photographic Collection. The Jones Photographic Album consists of 45 photographs documenting life of the Apache, Assiniboine, and Gros Ventre tribes taken at the Cheyenne River, San Carlos, and Fort Belknap Indian agencies. The George A. Addison studio photographs were taken in the Fort Sill area circa 1895. When looking at these photographs one must pause and consider the dynamics between the subject and the photographer. Is there a sense of voyeurism when looking at these images? What was the purpose of the photograph? Who are the subjects in the photographs? Do you notice that some individuals are dressed in traditional clothing while others are clothed in what could be considered Western attire? Considering these questions and layered history can help us better understand the context in which these photographs were taken.
Film
Much like photography, the history of Indigenous depiction and representation in film is complex and often fraught with cultural misrepresentation and stereotypes. J. Hoberman, in his 2016 New York Times piece, “Lost Culture Found on Film,” states that “as our nation’s original ‘others,’ Native Americans were a screen on which white settlers and their descendants projected their fantasies, if not their sense of guilt — particularly at the movies.” In addition to cultural and historical inaccuracies as well as sensationalism, glaring issues have been present in the film industry regarding Native American representation. For decades, many Hollywood films featured non-Indigenous actors in exaggerated makeup and costumes portraying Native American characters, known as “redface.”
Despite these historical trends in the film industry, there have been exceptions. Below on the right is a gallery of pages from the press book for the 1920 film “Before the White Man Came” (Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming). As you can see, part of the promotion is that this film includes an “All Indian Cast.” Written by William E. Wing and Directed by John E. Maple, the cast listing reads as follows:
- Barney Old Coyote
- Ben Spotted Horse
- Scratches His Face
- White Man Runs 'Em
- Robert Yellow Tail
- Plain Feather
- Old Badger
- Little Fire
- Bear Claw
- Bird Tail
You can also view the original film through the link below.
- Watch the 1920 film "Before the White Man Came"You can watch the original 42 minute feature film, "Before the White Man Came" starring Crow and Northern Cheyenne actors. At the 0:32 second mark, there is a note at the bottom of the screen that states "Every character in this production is an Indian" - this aligns with the marketing materials featured in the gallery to the right that highlights the "All Indian Cast." Please note that this originally silent movie now has narration and music.
"[Six young Indian women on horseback near Indian village at Fort Sill]."
[Six young Indian women on horseback near Indian village at Fort Sill]. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.62.
"[Two Kiowa women with cradleboard, crying baby, and little barefoot white girl in a dress]."
[Two Kiowa women with cradleboard, crying baby, and little barefoot white girl in a dress]. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.55.
"[Studio portrait of two young Indian boys in their best clothes]."
[Studio portrait of two young Indian boys in their best clothes]. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.41.
" George A. Addison, circa 1895, cabinet card. George A. Addison."
Apache Family with Grandmother. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.48.
"[Studio portrait of two young Indian girls in elaborate dresses and shawls]."
[Studio portrait of two young Indian girls in elaborate dresses and shawls]. Unknown photographer, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.53.
"Apache police, San Carlos [16 Apache police officers pose in front of the jail, badges, rifles]."
Apache police, San Carlos [16 Apache police officers pose in front of the jail, badges, rifles]. J. E. Jones, circa 1904, photographic print. J. E. Jones Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.165.19.
"Apache squaw [Young Apache woman, dress, shawl, silver jewelry, and facial painting]."
Apache squaw [Young Apache woman, dress, shawl, silver jewelry, and facial painting]. J. E. Jones, circa 1904, photographic print. J. E. Jones Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.165.11.
"Assiniboin Indians, Fort Belknap [Assiniboine man & woman in traditional dress]."
Assiniboin Indians, Fort Belknap [Assiniboine man & woman in traditional dress]. J. E. Jones, circa 1904, photographic print. J. E. Jones Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.165.39.
"Assiniboin & Grosventre star dance, Fort Belknap [Large dance group with American flags]."
Assiniboin & Grosventre star dance, Fort Belknap [Large dance group with American flags]. J. E. Jones, circa 1904, photographic print. J. E. Jones Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.165.30.
"Grosventre Indians, Catholic communicants, Fort Belknap [Large group portrait]."
Grosventre Indians, Catholic communicants, Fort Belknap [Large group portrait]. J. E. Jones, circa 1904, photographic print. J. E. Jones Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.165.36.
"[Young Indian boy, fringed buckskin clothing and leggings]."
[Young Indian boy, fringed buckskin clothing and leggings]. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.32.
"[Young Kiowa (?) woman in buckskin dress with elk tooth decoration, bow and arrow]."
[Young Kiowa (?) woman in buckskin dress with elk tooth decoration, bow and arrow]. George A. Addison, circa 1895, cabinet card. George A. Addison Studio Photographic Collection, Dickinson Research Center, National Cowboy & Western Heritage Museum. 2004.110.1.42.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
“Before the White Man Came” Press Book, Northwestern Film Company (1920), MS 424, McCracken Research Library. Courtesy of the Buffalo Bill Center of the West, Cody, Wyoming.
A Contemporary Response to Edward Curtis
Edward Curtis’s twenty-volume photography series The North American Indian has left an enduring mark not only the history of photography but in perpetuating the prevailing historic image of Indigenous culture and history. According to the Smithsonian's Spotlight on Edward S. Curtis, “The photographs presented daily activities, customs, and religions of a people he called ‘a vanishing race.’ To this end, Curtis often staged his subjects and set up scenes, mixing tribal artifacts and traditions to match his romanticized vision of the people he studied."
Today, art photographers Larry McNeil (Tlingit/Nisga’a) and Will Wilson (Diné/Bilagáana) use their work to challenge the stereotypes and legacies perpetuated by this type of historic photography, especially in their 2015 exhibit Indelible: The Platinum Process.
From the online exhibit for Indelible: The Platinum Process:
"The popularity of the platinum print coincided with the peak of the physical and cultural devastation of American Indian nations. Exploiting the aesthetic qualities of the platinum print, art photographers presented a romantic vision of Native peoples even as they struggled against disease, poverty, assimilationist policies, and dispossession of tribal lands.
Today, art photographers Larry McNeil (Tlingit/Nisga’a) and Will Wilson (Diné/Bilagáana) challenge this legacy by integrating the historic platinum process into their contemporary work. They remind us that even neutral technologies – such as platinum printing – can serve significant ideological purposes. These artists’ works emphasize that American Indians, like the platinum print itself, have not vanished by instead remain indelible."
You can view the online exhibit at the link below.