Cinematic Comanches

Cinematic Comanches engages in a description and critical appraisal of Indigenous hype, visual representation, and audience reception of Comanche culture and history through the 2013 Disney film The Lone Ranger.

For centuries Comanches have captivated imaginations. Yet their story in popular accounts abruptly stops with the so-called fall of the Comanche empire in 1875, when Quanah Parker led Comanches onto the reservation in southwestern Oklahoma. In Cinematic Comanches, the first tribal-specific history of Comanches in film and media, Parker descendant Dustin Tahmahkera examines how Comanches represent themselves and are represented by others in recent media. Telling a story of Comanche family and extended kin and their relations to film, Tahmahkera reframes a distorted and defeated history of Comanches into a vibrant story of cinematic traditions, agency, and cultural continuity. Co-starring a long list of Comanche actors, filmmakers, consultants, critics, and subjects, Cinematic Comanches moves through the politics of tribal representation and history to highlight the production of Comanchería cinema. From early silent films and 1950s Westerns to Disney’s The Lone Ranger and the story of how Comanches captured its controversial Comanche lead Johnny Depp, Tahmahkera argues that Comanche nationhood can be strengthened through cinema. Tahmahkera’s extensive research includes interviews with elder LaDonna Harris, who adopted Depp during filming in one of the most contested films in recent Indigenous cinematic history. In the fragmented popular narrative of the rise and fall of Comanches, Cinematic Comanches calls for considering mediated contributions to the cultural resurgence of Comanches today.

*Finalist for the Pulitzer Prize and the National Book Critics Circle Award* *A New York Times Notable Book* *Winner of the Texas Book Award and the Oklahoma Book Award* This New York Times bestseller and stunning historical account of the forty-year battle between Comanche Indians and white settlers for control of the American West “is nothing short of a revelation…will leave dust and blood on your jeans” (The New York Times Book Review). Empire of the Summer Moon spans two astonishing stories. The first traces the rise and fall of the Comanches, the most powerful Indian tribe in American history. The second entails one of the most remarkable narratives ever to come out of the Old West: the epic saga of the pioneer woman Cynthia Ann Parker and her mixed-blood son Quanah, who became the last and greatest chief of the Comanches. Although readers may be more familiar with the tribal names Apache and Sioux, it was in fact the legendary fighting ability of the Comanches that determined when the American West opened up. Comanche boys became adept bareback riders by age six; full Comanche braves were considered the best horsemen who ever rode. They were so masterful at war and so skillful with their arrows and lances that they stopped the northern drive of colonial Spain from Mexico and halted the French expansion westward from Louisiana. White settlers arriving in Texas from the eastern United States were surprised to find the frontier being rolled backward by Comanches incensed by the invasion of their tribal lands. The war with the Comanches lasted four decades, in effect holding up the development of the new American nation. Gwynne’s exhilarating account delivers a sweeping narrative that encompasses Spanish colonialism, the Civil War, the destruction of the buffalo herds, and the arrival of the railroads, and the amazing story of Cynthia Ann Parker and her son Quanah—a historical feast for anyone interested in how the United States came into being. Hailed by critics, S. C. Gwynne’s account of these events is meticulously researched, intellectually provocative, and, above all, thrillingly told. Empire of the Summer Moon announces him as a major new writer of American history.

This study explores the importance of the literary reservation of the mind in twentieth century native American literature. The book examines the contradictory nature of what the literary reservation space means primarily in the works of Sherman Alexie, but also includes discussions of works by N. Scott Momaday, Leslie Marmon Silko, and Louise Erdrich. Authors often recreate reservation space in positive ways, so their characters are able to survive colonial imposition and administration. The book deals with how Native authors reconcile fragmented identities with the landscape, and how damaging perceptions and policies regarding Native peoples have contributed to the reservation of the mind.

New York Times Bestseller Named one of the best books of the year by: Parade The Guardian Kirkus Library Journal The true story behind the classic Western The Searchers by Pulitzer Prize-wining writer Glenn Frankel that the New York Times calls "A vivid, revelatory account of John Ford's 1956 masterpiece." In 1836 in East Texas, nine-year-old Cynthia Ann Parker was kidnapped by Comanches. She was raised by the tribe and eventually became the wife of a warrior. Twenty-four years after her capture, she was reclaimed by the U.S. cavalry and Texas Rangers and restored to her white family, to die in misery and obscurity. Cynthia Ann's story has been told and re-told over generations to become a foundational American tale. The myth gave rise to operas and one-act plays, and in the 1950s to a novel by Alan LeMay, which would be adapted into one of Hollywood's most legendary films, The Searchers, "The Biggest, Roughest, Toughest... and Most Beautiful Picture Ever Made!" directed by John Ford and starring John Wayne. Glenn Frankel, beginning in Hollywood and then returning to the origins of the story, creates a rich and nuanced anatomy of a timeless film and a quintessentially American myth. The dominant story that has emerged departs dramatically from documented history: it is of the inevitable triumph of white civilization, underpinned by anxiety about the sullying of white women by "savages." What makes John Ford's film so powerful, and so important, Frankel argues, is that it both upholds that myth and undermines it, baring the ambiguities surrounding race, sexuality, and violence in the settling of the West and the making of America.

Winner, 2018 Presidio La Bahia Award, sponsored by the Sons of the Republic of Texas In 1851, an article appeared in a German journal, Geographisches Jahrbuch (Geographic Yearbook), that sought to establish definitive connections, using language observations, among the Comanches, Shoshones, and Apaches. Heinrich Berghaus’s study was based on lexical data gathered by a young German settler in Texas, Emil Kriewitz, and included a groundbreaking list of Comanche words and their German translations. Berghaus also offered Kriewitz’s cultural notes on the Comanches, a discussion of the existing literature on the three tribes, and an original map of Comanche hunting grounds. Perhaps because it was published only in German, the existence of Berghaus’s study has been all but unknown to North American scholars, even though it offers valuable insights into Native American languages, toponyms, ethnonyms, hydronyms, and cultural anthropology. It was also a significant document revealing the history of German-Comanche relations in Texas. Daniel J. Gelo and Christopher J. Wickham now make available for the first time a reliable English translation of this important nineteenth-century document. In addition to making the article accessible to English speakers, they also place Berghaus’s work into historical context and provide detailed commentary on its value for anthropologists and historians who study German settlement in Texas. Comanches and Germans on the Texas Frontier will make significant contributions to multiple disciplines, opening a new lens onto Native American ethnography and ethnology.