![]() ![]() ![]() ![]() My piece was intended primarily to look at how that came about. Then, after doing some research, I learned that Pocahontas was only the seventh animated Disney film based on a female heroine in more than half a century, and the first film based on a character of color, which I thought was intriguing. The Disney character of Pocahontas seemed to be different from many other cartoon heroines of the time, and it made me want to explore her place in the canon, and how it might have influenced Disney heroines to come. The idea for the piece came about because I was rewatching the movie after many, many years and I was struck by how original it was in a number of ways. It is the Western lens that sees a progressive narrative in the way the settlers of Disney’s movie are mocked (but eventually befriended), the way Pocahontas rejects a voyage overseas (but was in reality kidnapped-and in the sequel, even this part of the story is made family-friendly and song-worthy), and the way she chooses family over love (when in reality her “choice” was anything but). Disney’s Pocahontas gives just enough of a flogging to the “real” bad guys to leave the non-native viewers coming away feeling as though they’ve done the good work of recognizing their own faults, while the pain of forced assimilation and erasure continues for the Powhatan Nation and others. Yes, there is visibility in telling their stories, but it is a tainted visibility, a false reality rendered through the dominant culture, which seeks to ameliorate, always, the horrific methods by which they came to occupy an entire nation’s worth of landmass. Both Pocahontas and Sacagawea are often held up as heroines in the Western perspective, their stories reduced to kinder details rather than serving the interest of the dominant culture. The top three entries are rewarded money prizes and the first place entry is published in the Review.I’ve struggled with Disney’s Pocahontas as a source of pain and stereotype. This competition is open to law students throughout the United States and Canada. The American Indian Law Review has used a peer-review process for articles submitted by academics and practitioners in the field since the Spring 2007 issue.Įach year the American Indian Law Review sponsors the American Indian Law Writing Competition. Currently, the Review reaches approximately 400 subscribers in the U.S., Canada, and abroad. Issues of the Review average about 300 pages in length. The Review is produced by an independent staff of law students. This unique review offers articles by authorities on American Indian legal and cultural issues, student notes and comments, addresses by noted speakers, and recent developments of interest to tribal attorneys and scholars in Indian law. In addition, law students write on a wide variety of issues in the rapidly expanding field of Indian law.įirst produced in 1973, the American Indian Law Review is published biannually by the College of Law. Adhering to the traditional law review format, the American Indian Law Review offers in depth articles written by legal scholars, attorneys and other expert observers. The American Indian Law Review serves as a nationwide scholarly forum for the presentation and analysis of developments in the law concerning indigenous people and Indian affairs.
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