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References

1. John A. Price, "The Stereotyping of North American Indians in Motion Pictures." In G.M. Bataille and C.L.S. Silet, eds. The Pretend Indians: Images of Native Americans in the Movies (Ann Arbor: Books on Demand, 1994), 77.
2. Jacquelyin Kilpatrick, Celluloid Indians. Native Americans and Film (Lincoln and London: University of Nebraska Press, 1999), 3.
3. Ken Nolley, "John Ford and the Hollywood Indian." Film and History 23.1–4 (1993): 49.
4. Ward Churchill, Norbert Hill, and Mary Ann Hill, "Media Stereotyping and Native Response: An Historical Overview." The Indian Historian 11.4 (1978): 46.
5. Churchill, Hill, Hill, "Media Stereotyping", 47.
6. Hartmut Lutz, Approaches. Essays in Native North American Studies and Literatures (Augsburg: Wißner, 2002), 51.
7. John Mihelich, "Smoke or Signals? American Popular Culture and the Challenge to Hegemonic Images of American Indians in Native American Film." Wicazo Sa Review 16.2 (2001), 130.
8. Kilpatrick, Celluloid Indians, xvii.
9. John E. O'Connor, "The White Man's Indian. An Institutional Approach." In P.C. Rollins and John E. O'Connor, eds. Hollywood's Indian: The Portrayal of the Native American in Film (Lexington/KY: University Press of Kentucky, 2003), 30.
10. O'Connor, "The White Man's Indian", 32ff.
11. Vine Deloria, Jr., "Foreword/American Fantasy." In G.M. Bataille and C.L.S. Silet, eds. The Pretend Indians: Images of Native Americans in the Movies. (Ann Arbor: Books on Demand, 1994), ix.
12. Richard Berkhofer, The White Man's Indian. Images of the American Indian from Columbus to the Present (New York: Random House, 1978), 80.
13. Kilpatrick, Celluloid Indians, 48.
14. Hall, Stuart (1989). "Cultural identity and cinematic representation". Framework: The Journal of Cinema and Media 36: 80. 
15. Aleiss, Angela (1991). From Adversaries to Allies: The American Indian in Hollywood Films, 1930-1950. 
16. Angela Aleiss, Making the White Man's Indian. Native Americans and Hollywood Movies (Westport/CT and London: Praeger, 2005), pp. 2, 25.
17. Angela Aleiss, "A Race Divided: The Indian Westerns of John Ford," American Indian Culture & Research Journal, 18 (2), Summer 1995, 25–34.
18. Angela Aleiss, "Hollywood Addresses Postwar Assimilation: Indian/White Attitudes in Broken Arrow, American Indian Culture & Research Journal, 11 (1), 1987, 67–79.
19. Price, "The Stereotyping of North American Indians", 90.
20. Price, "The Stereotyping of North American Indians", 82–83.
21. Lutz, Approaches, 57.
22. Michael Hilger, From Savage to Nobleman. Images of Native Americans in Film (Lanham/MD and London: Scarecrow Press, 1995), 205.
23. James Sandos and Larry Burgess, "The Hollywood Indian versus Native Americans. Tell Them Willie Boy is Here (1969)." In P.C. Rollins and John E. O'Connor, eds. Hollywood's Indian: The Portrayal of the Native American in Film. Lexington/KY: University Press of Kentucky, 108.
24. Hilger, From Savage to Nobleman, 223.
25. Seth Bovey, "Dances with Stereotypes: Western Films and the Myth of the Noble Red." South Dakota Review 31.1 (1993), 119ff.
26. Elizabeth Cook-Lynn, "The Radical Conscience in Native American Studies." Wicazo Sa Review 7.2 (1993), 9.
27. Joshua Brockman, "Telling the Truth from Inside Indian Country." The New York Times (September 29, 2002). Note that Native American filmmakers made several movies after the article's publication.
28. Ginsburg, Faye (2012). Media Worlds: Anthropology on New Terrain. Los Angeles, CA: University of California Press. p. 62. 
29. Bauerkemper, Joseph (2014). "Videographic Sovereignty: Hulleah J. Tsinhnahjinnie's Aboriginal World View". Visualities: Perspectives on Contemporary American Indian Film and Art. 
30. Raheja, Michelle (2014). "Visual Prophecies: Imprint and It Starts With a Whisper". Visualities: Perspectives on Contemporary American Indian Film and Art: 3–40. 
31. Van Alst, Theo. "Sherman Shoots Alexie: Working with and without Reservation(s) in "The Business of Fancydancing"". Visualities: Perspectives on Contemporary American Indian Film and Art: 73-73.