263:“She and her crew filmed clashes with the military; the army stopping food from reaching the land defenders; some locals hanging and burning an effigy of a warrior; a mob of Châteauguay residents stoning cars belonging to Kanien’kehá:ka, containing mostly women and children, with rocks the size of fists, windows shattering, glass shards lodged in skin, an elderly man hit in the chest, shirtless men cheering. She interviewed the Kanien’kehá:ka women on the front lines of the standoff with the federal and provincial governments. She documented the protests held in solidarity with the Kanehsata’kehró:non. And she filmed the army’s tanks pushing into Kanien’kehá:ka territory.”
390:“…At the time the racism became so big here, you couldn’t go just anywhere without being pushed or insulted. So, it was even more important to make sure that it’s documented by some of us. This film became a turning point because of the content. Because of what happened. Every reservation in this country or almost every one of them, have lost land by always the municipality. And when the resistance was done in Kanehsatake, this is when it became a turning point. It gave courage to all the reserves and not to allow that to happen anymore. (00:01:30-00:02:13)
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276:“I was working on another film, I was driving my car I was on my way to the film board, and I hear on CBC news: a shoot out in Kanehsatake. You could hear the sound of the guns, so I went straight there instead of going to the film board. By the time I got there in Oka, you weren’t allowed to go into the village and the police had a barricade there, and that was it. So I went back to the film board and I said: I’m changing my production I got to go and document this. (00:00:32- 00:01:39)”
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297:" by the soldiers, a derogatory slur implying a woman that can be assaulted and beat. She continuously reminded herself the reason why she was there: for her people. She needed to keep documenting the situation, to keep composure and therefore, never turned any insults back when speaking to authority figures.
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The film's subjective style is contrary to early
Indigenous documentary works where they were the subjects being observed and preserved with a Western ethnographic gaze.“Obomsawin’s subjective style is what makes her films so important simply because they are about her, and her people, supplying her
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It took several days before Alanis was able to cross the barricade to be with the Mohawk community and the
Warriors. Not knowing how the conflict would develop, Obomsawin captured the rest of the siege. The Siege of Kanehsatake was the largest amount of troops deployed in an Indigenous rights issue.
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was shot dead. The opening of the film displays the central conflict which is the direct result of the shoot-out on July 11, 1990. The film portrays an
Indigenous perspective of this historical event; capturing 250 hours of footage in order to give agency to her people that were being misrepresented
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During the 1940s and 1950s, the
National Film Board of Canada's regarding Indigenous communities portrayed them under an ethnographic lens; as a vanishing culture. Obomsawin's NFB produced film is significant as it contradicts this ideology constructed by the film board. She opposes the objectivity
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Obomsawin's choice to stay with the community throughout the siege and document the brutalities also seemed to de-escalate the situation: "some believe
Obomsawin’s continued presence with a camera likely tempered the army—that things would have been worse if she weren’t there filming.” Jesse Wente,
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The production conditions that
Obomsawin and her film crew were subjected to were less than favourable. The filmmaker herself admitted to feeling afraid for her life. Obomsawin and the Mohawk community faced many sleepless nights as well as fleeing from attacks from the army. After a cameraman left
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The film's production ultimately had an effect on the Mohawk community of Oka as well as
Indigenous communities across North America. News stories contained a biased Western perspective. The documentary is evidence of the Mohawk experience. It provided an outlet for a perspective that was commonly
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e. She is the one who tells the story and long history of land appropriation by colonizers in North
America, inviting the audience to re-read history She uses her voice and archival footage to properly demonstrate how history has continued to repeat itself, considering the events of Oka recall the
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When the film was released in 1993, the CBC continued its long-standing neglect of
Obomsawin's work, in this case arguing that she needed to slice thirty minutes from the two-hour film to make room for commercial breaks. Colin Neale, the executive producer who worked with Obomsawin on the film,
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The film helped to develop a universal sentiment, Karen Froman an
Indigenous scholar, explains: “the processes of colonization and rapid urbanization in the postwar period has ripped Indigenous peoples from their homelands, yet in many ways we remain connected to the land no matter where we may
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It is clear that without Obomsawin's 1993 film, the history of Oka circa 1990 would be dominated by Mulroney's assertion, reproduced in the documentary, that the armed Mohawks were criminals and illegally wielding
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land. The expansion would destroy the sacred burial ground located in their land of "The Pines". This news led to the Mohawk community creating barricades to protect The Pines and block access to the
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documents the boiling point of Indigenous land possession battles of the last 270 years. The conflict arises when the Quebec government announces to expand the golf course it had previously built on
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the scene in fear of his safety, Obomsawin took charge and adjusted to using the equipment herself. Obomsawin also recalls an account of verbal harassment while shooting, being referred to as "
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rebuffed the network's demand. Eventually, public interest in Kahnesatake overpowered the CBC's bureaucratic reluctance, and the network aired it on January 31, 1994.
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misrepresented and distorted. Obomsawin discussed the impact of the film and the incidents in Oka 25 years later with the National Film Board of Canada:
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of NFB documentary journalistic filmmaking by abandoning the classic "voice of god" narration style and making her point of view very apparent.
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754:"The white man's camera: the national film board of Canada and representations of Indigenous peoples in post-war Canada"
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In a video interview for the 'NFB Pause series' celebrating the 25th anniversary of the film, Alanis Obomsawin recounts,
204:, the film won 18 Canadian and international awards, including the Distinguished Documentary Achievement Award from the
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In 2021 the film was selected for inclusion in Celebrating Alanis, a retrospective program of Obomsawin's films at the
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Morris, Martin J. (1995). "Overcoming the Barricades: The Crisis at Oka as a Case Study in Political Communication".
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235:. The siege began in March 1990, and tensions rose during a confrontation between the Mohawk Warriors and the
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over 78 days, capturing a rare perspective of an important turning point in Canadian history. Produced by the
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The documentary enlightens audiences to the mistreatment and brutal force received by Mohawks from the
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239:(SQ); police raided Mohawk territory. Gunshots were fired and Corporal Marcel Lemay from the
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Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies
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403:“The film marked a watershed moment in the history of Indigenous cinema, Without
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reside. I know where I come from even though I may not physically reside there.”
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567:"Mohawks and the Media: Alanis Obomsawin's Kanehsatake: 270 Years of Resistance"
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founding director of the Indigenous Screen Office and chair of the board of the
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648:"Dionne Brand and Alanis Obomsawin: Polyphony in the Poetics of Resistance"
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733:"Toronto Film Fest Unveils Platform Program Slate; Riz Ahmed To Head Jury"
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Meng, Melinda (2020). "Bloody Blockades: The Legacy of the Oka Crisis".
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made its North American premiere at the Toronto Festival of Festivals.
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and the CITY TV Award for Best Canadian Feature Film from the Toronto
513:"At Ninety-One, Alanis Obomsawin Is Not Ready to Put Down Her Camera"
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Toronto International Film Festival Award for Best Canadian Film
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own images and commentary”. Alanis Obomsawin is the narrator in
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McIlroy, Brian (2006). "Kanehsatake: 270 Years of Resistance".
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NFB Pause | 25 Years After Kanehsatake: 270 Years of Resistance
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Kanehsatake: 270 Years of Resistance (The Oka Crisis) (1993)
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Those Who Make Revolution Halfway Only Dig Their Own Graves
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Wilson, Pamela (2016). "Indigenous Documentary Media".
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Journal of Canadian Studies/Revue d'Ă©tudes canadiennes
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Documentary films about Indigenous rights in Canada
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698:Alanis Obomsawin: The Vision of a Native Filmmaker
340:Alanis Obomsawin: The Vision of a Native Filmmaker
196:. Obomsawin documents the events of The Siege of
629:Third, Alanis Obomsawin’s. "Eyeing Resistance."
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635:https://doi.org/10.14288/cinephile.v5i1.197935
895:Canada's Sweetheart: The Saga of Hal C. Banks
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327:, the film premiered in England, instead, on
188:is a 1993 feature-length documentary film by
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1320:National Film Board of Canada documentaries
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829:, Canadian Women Film Director's Database
284:Two SQ officers during Kanehsatake Siege.
370:2021 Toronto International Film Festival
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1345:Documentary films about Quebec politics
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925:The Outside Chance of Maximilian Glick
816:"Kanehsatake: 270 Years of Resistance"
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611:"Obomsawin, Alanis – Senses of Cinema"
342:, film scholar Randolph Lewis writes:
192:, highlighting the events of the 1990
671:"Kanehsatake 270 Years of Resistance"
206:International Documentary Association
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975:Kanehsatake: 270 Years of Resistance
805:Kanehsatake: 270 Years of Resistance
793:Kanehsatake: 270 Years of Resistance
646:Martins, Maria Lúcia Milléo (2009).
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488:(2): 74–90 – via Project Muse.
405:Kanehsatake: 270 Years of Resistance
353:Kanehsatake: 270 Years of Resistance
333:Kanehsatake: 270 Years of Resistance
311:failures of old treaties in Canada.
251:Flag of the Mohawk Warriors' Society
222:Kanehsatake: 270 Years of Resistance
185:Kanehsatake: 270 Years of Resistance
22:Kanehsatake: 270 Years of Resistance
826:Kanehsatake 270 Years of Resistance
308:Kanehsatake: 270 Years of Resistanc
1365:English-language documentary films
1330:Films directed by Alanis Obomsawin
905:The Decline of the American Empire
722:. London: Wallflower. p. 180.
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669:Mazurkewich, Karen (1993-09-13).
469:(3): 38–41. – via ProQuest.
351:Brian McIlroy, in his chapter on
540:Canada, National Film Board of,
965:Requiem for a Handsome Bastard
658:: 151–164 – via redalyc.
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1005:Long Day's Journey into Night
609:Williams, Paul (2000-06-07).
588:. Routledge. pp. 87–91.
416:National Film Board of Canada
202:National Film Board of Canada
1355:1990s English-language films
752:Froman, Karen (2021-08-26).
703:University of Nebraska Press
463:Harvard International Review
1061:Atanarjuat: The Fast Runner
397:Canada Council for the Arts
1381:
820:Canadian Film Encyclopedia
148: (Febio Film Festival)
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450:Awards list, NFB Web page
140:28 January 1993
695:Lewis, Randolph (2006).
677:. Brunico Communications
586:Contemporary Documentary
571:Take One: Film in Canada
241:Quebec Provincial Police
1111:Manufactured Landscapes
1091:It's All Gone Pete Tong
1081:The Barbarian Invasions
1340:1993 documentary films
1231:The Fireflies Are Gone
769:Cite journal requires
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244:in common mass media.
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565:Greer, Sandy (1994).
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257:Canadian Armed Forces
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210:Festival of Festivals
1360:1990s Canadian films
1181:When Jews Were Funny
719:The Cinema of Canada
357:The Cinema of Canada
1251:Inconvenient Indian
1021:The Sweet Hereafter
1015:The Hanging Garden
885:A Woman in Transit
739:, August 11, 2021.
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220:Obomsawin's film,
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595:978-1-138-84952-5
376:Critical response
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291:
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275:
271:
262:
254:
223:
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184:
183:
182:
157:Running time
133:Release date
94:Yurij Luhovy
1121:My Winnipeg
1051:waydowntown
701:. Lincoln:
198:Kanehsatake
161:119 minutes
56:Colin Neale
52:Wolf Koenig
45:Produced by
27:Directed by
1315:1993 films
1309:Categories
1141:Cairo Time
1101:C.R.A.Z.Y.
681:2009-01-26
616:2023-10-27
549:2023-10-27
523:2023-10-27
517:The Walrus
437:References
268:Production
194:Oka Crisis
144:1993-01-28
117:Production
37:Written by
1291:Shepherds
1261:Ste. Anne
1151:Incendies
1131:Lost Song
995:Live Bait
381:Community
91:Edited by
82:Zoe Dirse
1241:Antigone
1221:Ravenous
935:Roadkill
675:Playback
573:: 19–21.
425:See also
364:weapons.
216:Synopsis
174:Language
99:Music by
64:Starring
985:Exotica
812:website
808:on the
315:Release
177:English
166:Country
142: (
119:company
1294:(2024)
1284:(2023)
1274:(2022)
1264:(2021)
1254:(2020)
1244:(2019)
1234:(2018)
1224:(2017)
1214:(2016)
1204:(2015)
1194:(2014)
1184:(2013)
1174:(2012)
1164:(2011)
1154:(2010)
1144:(2009)
1134:(2008)
1124:(2007)
1114:(2006)
1104:(2005)
1094:(2004)
1084:(2003)
1074:(2002)
1071:Spider
1064:(2001)
1054:(2000)
1044:(1999)
1034:(1998)
1024:(1997)
1008:(1996)
998:(1995)
988:(1994)
978:(1993)
968:(1992)
958:(1991)
948:(1990)
938:(1989)
928:(1988)
918:(1987)
908:(1986)
898:(1985)
888:(1984)
803:Watch
592:
229:Mohawk
169:Canada
295:squaw
125:ACPAV
1281:Solo
798:IMDb
775:help
590:ISBN
810:NFB
796:at
323:of
1311::
1031:NĂ´
1018:/
818:,
766::
764:}}
760:{{
744:^
735:.
673:.
656:56
654:.
650:.
569:.
557:^
532:^
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494:^
486:30
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864:e
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259::
224:,
146:)
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