Amy S Fatzinger

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Courses

Scholarly Contributions

Chapters

• Fatzinger, A. S. (2020). "Introduction: The Growing Relevance of American Indian Tradition and Values for the World of the Twenty-First Century". In Honoring the Circle: Ongoing Learning of the West from American Indians on Politics and Society (Volume III)(p. 9). Waterside Productions.
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  The Introduction to this volume is divided into four sections; I wrote the section on "American Indians and Literature, Cinema, and Popular Culture."
• Fatzinger, A. S. (2016). "Expectations and Exceptions in the Women of the Little House: The Little House Texts As A Women’s Frontier Narrative". In Twentieth Century Literary Criticism (volume on Laura Ingalls Wilder)(p. 37). Layman Poupard.
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  Layman Poupard solicited (and paid for) rights to publish this revised dissertation chapter.
• Fatzinger, A. S. (2016). "Little House in a Big Depression: The Little House Narrative As Depression-Era Children’s Literature". In Twentieth Century Literary Criticism (Volume on Laura Ingalls Wilder)(p. 30). Layman Poupard.
  More info

  Layman Poupard solicited (and paid for) rights to publish this revised dissertation chapter.

Journals/Publications

• Fatzinger, A. S. (2018). "Learning from Laura Ingalls Wilder". The Atlantic.
• Fatzinger, A. S. (2015). Amid the Mockingbird’s Laughter: Non-Indian Removals in Laura Ingalls Wilder’s Depression-Era Novels. Western American Literature, 35.
• Fatzinger, A. S. (2015). Echoes of Cililo Falls and Native Voices in One Flew Over the Cuckoo’s Nest. Mosaic: A Journal for the Interdisciplinary Study of Literature, 23.
• Fatzinger, A. S. (2016). Winter in the Blood: A Case for Maintaining Cultural Content in Adaptations of Indigenous Stories. Adaptation, 41.
• Fatzinger, A. S. (2015). “‘Can you imagine a real, live Indian right here in Walnut Grove?’: American Indians in Television Adaptations of Little House on the Prairie.”. Dialogue: The International Journal of Popular Culture and Pedagogy, 2(1), 38-49.
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  Complete edition of the journal was released in February 2015 (so is cited above accordingly), but my article was selected for the Fall 2014 online preview.

Presentations

• Fatzinger, A. S. (2022, February). “Toward Theorizing Indigenous Adaptations: Storytelling & Modes of Engagement”. Southwest Popular and American Culture Association Conference. Albuquerque, NM.
• Fatzinger, A. S. (2020, February). “Inuit Adaptations and the Art of Indigenizing John Ford’s The Searchers.”. Southwest Popular/American Culture Association Conference. Albuquerque, NM.
• Fatzinger, A. S. (2020, February). “Inuit Adaptations and the Art of Indigenizing John Ford’s The Searchers”. Southwest Popular and American Culture Conference. Albuquerque, NM.
• Fatzinger, A. S. (2019, February). “‘I’m going to tell you a story—not your story, my story’: Adapting Images of Place in Ten Canoes.”. Southwest Popular/American Culture Association Conference. Albuquerque, NM.
• Fatzinger, A. S. (2019, November). “Indigenous Visions of Power in Place: Films From Australia and the American Southwest”. Indigenous Film Screening Event. The Screening Room, Tucson, AZ: Confluencenter for Creative Inquiry.
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  Invited co-discussant (with filmmaker Daniel Goldberg) for post-screening discussion of three Indigenous films.
• Fatzinger, A. S., Sorrell, R., Dollman, M. S., & Jenkins, J. L. (2019, October). Tribesourcing Vintage Educational Films: Repurposing With Native Narrations. Association of Tribal Archives, Libraries and Museums. Penchanga Indian Community, CA: Association of Tribal Archives, Libraries and Museums.
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  Panel presentation by Tribesourcing team on NEH-funded project to decolonize and repatriate midcentury educational films
• Fatzinger, A. S. (2018, February). “‘How Many Times Have you Seen Dances with Wolves, Anyway?’: Re-Watching Dances with Wolves Twenty Years After Smoke Signals.”. Southwest Popular/American Culture Association Conference. Albuquerque, NM.
• Fatzinger, A. S. (2018, November). 1968: A Transformation Story in Indian Country. The Power of the Powerless: A 1968 Retrospective (Symposium). University of Arizona.
• Fatzinger, A. S. (2018, September). “Truth in Process, Truth in Product: The Revolutionary Work of Adapting Indigenous Novels”. Association of Adaptation Studies. Amsterdam, The Netherlands.
• Fatzinger, A. S., & Jenkins, J. L. (2018, February). “Tucson Tinseltown: Hollywood in the Old Pueblo.”. In Conjunction with "Desert Hollywood: Celebrity Landscapes in Cinema" Exhibit. Tucson Desert Art Museum.
• Fatzinger, A. S., & Jenkins, J. L. (2018, October). "Tribesourcing Midcentury Southwestern US Educational Films. Participation, Equity, and Inclusion: L2DL Digital Literacies Symposium. Online: Center for Educational Resources i Culture, Langugage, and Literacy (CERCLL).
• Fatzinger, A. S. (2017, February). “Culture, Casting, and Bilagáana Blunders: Depictions of Diné Womanhood in W.S. Van Dyke’s 1934 Adaptation of Laughing Boy.”. Southwest Popular and American Culture Association Conference. Albuquerque, NM.
• Fatzinger, A. S. (2017, July). Introduction to screening of Spirit Game: The Pride of a Nation. Loft Cinema’s Social Justice Summer/Loft Film Fest on the Road series. Tucson Global Justice Center.
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  Introduced the Haudenosaunee lacrosse film, and led audience discussion after the film.
• Fatzinger, A. S. (2017, September). Introduction to screening of Geronimo: An American Legend. Loft Cinema’s “Rolling Reels: Bringing Movies to You” (solar cinema project). Amerind Museum, Dragoon, AZ.
• Fatzinger, A. S. (2017, September). “Filming the Stories Home: The Aesthetics of Homecoming in Adaptations of Indigenous Novels.”. Association of Adaptation Studies. Leicester, England.
• Fatzinger, A. S., & Jenkins, J. L. (2017, October). Tribesourcing New Narratives: Decolonizing Mid-Century Educational Media. Association of Tribal Libraries, Museums, and Archives. Santa Ana Pueblo, New Mexico: Association of Tribal Libraries, Museums, and Archives (ATALM).
• Fatzinger, A. S. (2016, April). “‘You know that I’ve had my hell on earth’: Catholic Schools in Indigenous Cinema”. American Academy of Religion. Tucson, AZ.
• Fatzinger, A. S. (2016, Fall). “Storytelling Aesthetics and Audience Engagement in Indigenous Adaptations.”. Association of Adaptation Studies. Oxford University.
• Fatzinger, A. S. (2016, February). “Peoplehood, Ceremony, and Cinema: Limitations of the Peoplehood Matrix in Interpreting American Indian Cinema. Southwest Popular/American Culture Association. Albuquerque, NM.
• Fatzinger, A. S. (2016, March). “Nation Building and Native Cinema: Representations of Economic Development and Nation Building in Native Feature Films”. National Ethnic Studies Association. Tucson, AZ.
• Fatzinger, A. S. (2015, February). “‘Where are your women?’: Searching for Native Female Protagonists in Feature Films Since 1998". Southwest Popular/American Culture Association Conference. Albuquerque, NM.
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  When the Cherokee leader Attakullakulla led a delegation of Cherokee men and women to negotiate with English colonists in 1759, he expressed his surprise at finding no women among the English colonists and asked, “Where are your women?” Today, if Attakullakulla had an opportunity to view contemporary Native films, he might find the limited presence of Native female protagonists similarly concerning. In 1998 the release of Naturally Native, the story of three Native women entrepreneurs, initially seemed to offer a positive turning point away from the earlier “celluloid maiden” and highly sexualized roles for Native women characters described by Elise Marubbio in Killing the Indian Maiden. The majority of feature films released since 1998, however, have followed the model of the other major Native film released that year, Smoke Signals, in which Native female characters are limited to minor or supporting roles. This study quantitatively and qualitatively analyzes the roles of Native women in twenty contemporary feature films. Native women’s minor and supporting roles (i.e. as girlfriends or relatives of the male protagonists) which occur in about 75% of the films in the study, are quantified and discussed in contrast with the few major roles for female Native protagonists (i.e. lawyers, detectives, and culture-bearers) that occur in only 25% of the films. Just as the absence of women signified a lack of balance and completeness among the colonial negotiators in 1759, the limited number of Native female protagonists suggests a similar sense of imbalance in contemporary Native cinema.
• Fatzinger, A. S. (2015, March). “Making the Most of Mixed Media Storytelling: Adapting Winter in the Blood.”. Native American Literature Symposium. Albuquerque, NM: NALS.
• Fatzinger, A. S. (2015, October). “The Fans of Little House on the Prairie Will Love this Collection” Films: Why Fans of Laura Ingalls Wilder’s Stories Might Not Love the Films”. Western Literature Association. Reno, NV.
• Fatzinger, A. S. (2014, February). Forgetting and Remembering the Mapuche in “The People of Chile”: Understanding Chile’s National Narrative of Oppression through Educational Film. Southwest Popular/American Culture Association Conference. Albuquerque, NM: SPACA.
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  The Mapuche people of Chile endured and successfully resisted invasions in their homelands from the 15th century until well into the 19th century, when the Chilean government redoubled its efforts to pacify the Mapuche people and confiscate their territory. The story of how the Chilean government violently dispossessed the Mapuche of their territory was silenced in Chilean history for more than a century until 1990 when the Truth and Reconciliation Commission began collecting oral history from Chileans as part of the healing process following the Pinochet regime. The stories collected from Mapuche people during the Truth and Reconciliation project documented for the first time indisputable evidence of the State’s role in aggressively displacing the Mapuche, and gave Mapuches a new voice in Chilean history. The educational film “People of Chile” (1947) was made during the century-long period in which Chile did not acknowledge its violent displacement of the Mapuche people. “People of Chile,” which purports to introduce all of Chile’s diverse peoples to the outside world, accordingly celebrates the achievements of Chile’s immigrant population, highlighting the founding of Santiago, and Chile’s architecture, transportation, industry, and commerce. The Mapuche people—and the landscape which is integral to their language and identity—are only marginally mentioned, and are depicted as minimally impacted by Chile’s developing nationhood. “People of Chile” offers opportunities to use a historic educational film as a means to better understanding the implications of a carefully crafted national narrative in the oppression of Indigenous identity.
• Fatzinger, A. S. (2014, May). “Forgetting and Remembering the Mapuche People in Chile: Negotiating the National Narrative in People of Chile (1947) and Message to Chileans (2009)”. Native American and Indigenous Studies Association. Austin, TX: NAISA.
• Fatzinger, A. S. (2014, October 29). "Seasonal Warriors in Popular Culture". Natives in the Media: Addressing the Issues of Cultural Appropriation Event. University of Arizona: Native American Student Affairs.

Reviews

• Fatzinger, A. S. (2023. Review of Adrian Louis's novel The Ghost Dancer(p. 1).
• Fatzinger, A. S. (2020. Review of Linda Waggoner's Starring Red Wing! The Incredible Career of Lilian M. St. Cyr, the First Native American Film Star(p. 3).