In recent years, works by American Indigenous artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Indigenous America. This insightful collection of essays explores how identity is created and communicated through Indigenous film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work.

Introduction: Indigenous visualities -- pt. 1. Indigenous film practices -- Visual prophecies : Imprint and It starts with a whisper / Michelle H. Raheja -- Indians watching Indians on TV : Native dpectatorship and the politics of recognition in Skins and Smoke signals / Joanna Hearne -- Sherman shoots Alexie : working with and without reservation(s) in The business of fancydancing / Theo. Van Alst -- Elusive identities : representations of Native Latin America in the contemporary film industry / Rocío Quispe-Agnoli -- Condolence tropes and Haudenosaunee visuality : It starts with a whisper (1993) and Mohawk girls (2005) / Penelope Myrtle Kelsey -- Videographic sovereignty : Hulleah J. Tsinhnahjinnie's Aboriginal world view / Joseph Bauerkemper -- pt. 2. Contemporary American Indian art -- Indigenous semiotics and shared modernity / Dean Rader -- Seeing memory, storying memory : Printup Hope, Rickard, Gansworth / Susan Bernardin -- Aboriginal beauty and self-determination : Hulleah Tsinhnahjinnie's photographic projects / Cynthia Fowler -- Text-messaging prayers : George Longfish and his art of communication / Molly McGlennen.