A timely and crucial collection of essays and conversations focused on Indigenous-settler cultural politics and the ethics of Indigenous representation in Canada’s media arts that explores issues of narrative sovereignty, cultural identity, cultural resistance and decolonizing creative practices.

Dana Claxton is a Canadian interdisciplinary artist of Lakota Sioux descent. Her work includes film and video, installation and performance art, and centres on concerns of beauty, justice, autonomy and spirit. She is represented in public collections, has been shown internationally, and has received numerous awards including the VIVA Award from the Doris and Jack Shadbolt Foundation for her commitment to contemporary art in Vancouver; and in 2007 became an Eiteljorg Fellow sponsored by the Ford Foundation. She has held positions as Adjunct Professor at Emily Carr Institute of Art & Design, Vancouver; Assistant Professor in the Department of Art History, Visual Art and Theory at the University of British Columbia, Vancouver; 2009/10 Ruth Wynn Woodward Endowed Chair in Women's Studies at Simon Fraser University, Burnaby; and was a founding director of the Indigenous Media Arts Group, Vancouver.

Dana Claxton's profile page

Ezra Winton is Assistant Professor of Journalism and Mass Communication, American University in Bulgaria and holds a PhD in Communication Studies from Carleton University. He is the co-founder, with Svetla Turnin, and Director of Programming of Cinema Politica, the world’s largest grassroots documentary screening network, and is a contributing editor at POV Magazine.

Ezra Winton's profile page

“Dana Claxton and Ezra Winton’s collection of conversations between, for, and about Indigenous media makers poses vital, critical, and generative questions about Indigenous film, film festivals and institutions, residential school histories, and decolonization without providing easy answers. These conversations are at times joyful expressions of the radical possibilities of media arts and at times painful provocations about settler colonial violence and its representational apparatuses. The chapters, written by the most brilliant and creative minds in contemporary Indigenous film, are paradigm-shifting love letters to the land, lived experience, collaboration, and futurity.” —Michelle Raheja, Associate Professor, Department of English, University of California, Riverside, author of Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film