Notice bibliographique
Résumé
This is a film review of Drunktown's Finest (2013), directed by Sydney Freeland. Author Notes Jodi McDavid is an instructor in Folklore and Gender & Women’s Studies at Cape Breton University. She earned her BA at St. Thomas University (New Brunswick) and her MA and PhD from Memorial University of Newfoundland. Her PhD dissertation was on anticlericalism in folk and popular culture. Her current research interests include vernacular religion, the folklore and folklife of children and adolescents, and gender and women’s studies. This sundance film festival review is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol18/iss1/18 Drunktown's Finest (2013) Directed by Sydney Freeland NEXT Writer/Director Sydney Freeland chose to create this dramatic film in response to a 20/20 news report about Drunktown U.S.A., a Navajo reservation in Gallup, New Mexico. The film centres on Boy, (compellingly played by Jeremiah Bitsui) a young First Nations man who is at a crossroads. The inertia of reservation life is holding him back, but his new responsibilities as a guardian for his sister and father propel him forward. Felixia, a transgendered granddaughter of the local Medicine Man, suffers from similar tensions; her desires for acceptance push her outside of the reservation, but we’re not sure at what cost. A lack of available money, work, or emotional support and a history of alcohol abuse create a web of circumstances that are almost impossible for our characters to escape. As one character says in the film's opening, They say this isn't a place to live, it's a place to leave... so why do people stay? This question is explored throughout the film as we see what it takes for the characters to break free from the seemingly insurmountable oppressiveness of their situations. At the same time, we meet Nizhoni, a young woman who is struggling to find her roots and get back to the reservation. The one opportunity for personal growth and security shown in the film is through native spirituality. This is illustrated best by the Medicine Man and his wife, Ruth. We watch as Max, Sick Boy's sister, embarks on her puberty rites with the help of these characters. But even this is 1 McDavid: Drunktown's Finest Published by DigitalCommons@UNO, 2014 problematic: as with any rite of passage, it draws family together and shows where there are unmet expectations and rifts. The film plunges us into the reality of the characters, to the point where we are hopeful that they will escape, despite the risks associated with trying to leave the reserve. Felixia (the transgender youth) is totally accepted by her grandparents. This character could be better developed, though, as we see her engage in prostitution--no doubt to pay for her gender reassignment surgery--but we're left to assume this. As the film progresses, Felixia takes some risks in order to leave the reservation, possibly for good. At this point we do not feel that concerned about her, as the level of risk she is engaging in is less than the unhappiness she may feel if she does nothing and remains on the reserve. Spirituality provides strength for many of the characters. Sick Boy learns how to be a family tradition-bearer from his girlfriend and the Medicine Man, and at the same time, turns away from bad decisions. Nizhoni, who is looking for her birth parents, has a spiritual dream which leads to her reunion with her family. Despite some of the subject matter, Drunktown's Finest is hopeful, and does not take us into the depths of despair, although the threat is there. There are strong female characters surrounding the character of Sick Boy. We see Max (the young girl) seeking traditional rites and learning more about her spirituality and traditions through her rites and language. Ultimately, the film is hopeful and a good depiction of many facets of Native American spirituality.
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Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».