Introduction
This essay explores the concept of “sovereignty” in the context of Indigenous peoples in North America, focusing on its representation in Hollywood films. Drawing from critical discourse in race and diversity studies, the essay defines sovereignty with an emphasis on its legal dimensions, applies it to the plots of two films—Broken Arrow (1950) and The Searchers (1956)—and draws conclusions about its implications for understanding Native American experiences. This analysis builds on course materials, such as Raheja’s discussion of visual sovereignty in ethnographic films like Nanook of the North, but prioritises legal sovereignty as central to contemporary Indigenous nations (Raheja, 2010). By examining these elements, the essay highlights how fiction films reflect broader political tensions, contributing to discussions on Indigenous autonomy in a colonial framework.
Defining Sovereignty
Sovereignty, in the context of Indigenous peoples in North America, refers to the inherent right of Native nations to self-governance, territorial control, and legal autonomy, often in tension with overriding federal authority. As Raheja (2010) argues in her analysis of Nanook of the North, visual sovereignty emerges when Indigenous subjects assert agency within representations, such as Nanook’s knowing smile challenging the director’s intentions; however, this differs from legal sovereignty, which pertains to recognised political independence. Legal sovereignty for Native American tribes is enshrined in U.S. treaties and laws, allowing limited self-rule over reservations, as discussed in educational resources like the “Essential Understandings of Native Americans in Oregon” (Oregon Department of Education, 2014). These understandings emphasise that sovereignty enables tribes to manage internal affairs, including justice systems and resource allocation, though it is frequently undermined by external encroachments. For instance, historical treaties like those in the 19th century granted nominal sovereignty but often led to land loss and assimilation policies. This concept is crucial today, as Indigenous nations navigate federal oversight; unlike individuals, nations possess collective sovereignty that resists total state imposition (Wilkins and Stark, 2011). Therefore, in fiction films, sovereignty is portrayed not as personal agency but as a communal, political struggle against colonial dominance, distinguishing it from Raheja’s visual framework in non-fiction contexts.
Sovereignty in Film Plots
The plots of Broken Arrow and The Searchers reflect upon sovereignty by dramatising conflicts between Indigenous autonomy and settler expansion. In Broken Arrow, directed by Delmer Daves, the narrative centres on Tom Jeffords’ efforts to broker peace between the U.S. military and Cochise’s Apache tribe, highlighting sovereignty through treaty negotiations that affirm Apache control over their lands (Kilpatrick, 1999). The film’s plot raises sovereignty as a fragile achievement, where Cochise’s insistence on tribal self-determination—evident in scenes of council deliberations—contrasts with white encroachments, ultimately portraying it as dependent on mutual respect yet vulnerable to betrayal. Similarly, The Searchers, directed by John Ford, explores sovereignty through Ethan Edwards’ obsessive quest to rescue his niece from Comanche captivity, framing Indigenous groups as sovereign entities defending their territories against invasion. The Comanche’s raids and Ethan’s vengeful pursuit underscore sovereignty as a source of resistance, with the film’s climax reflecting how colonial violence erodes Native autonomy, reducing it to survival amid relentless assimilation pressures (Aleiss, 2005). Both films use plot developments to illustrate sovereignty not as absolute but as contested, with Broken Arrow offering a more optimistic view of negotiated coexistence, while The Searchers depicts it as inevitably fractured by racial animosities.
Conclusions from the Films
If the plots of Broken Arrow and The Searchers are taken as true regarding sovereignty, it follows that Native American autonomy is inherently precarious, reliant on fragile alliances with settlers yet perpetually threatened by expansionist forces. In Broken Arrow, sovereignty implies that Indigenous nations can maintain self-governance through diplomacy, suggesting that mutual understanding could foster equitable relations and preserve tribal integrity. However, this also means that without such alliances, Native sovereignty risks dissolution, positioning Indigenous peoples as dependent on external validation for their rights. Conversely, The Searchers concludes that sovereignty equates to defensive isolation, where Native Americans must resort to conflict to protect their lands, implying that integration with dominant society leads to cultural erasure. Together, these narratives suggest that for Native Americans, sovereignty represents both a shield against assimilation and a barrier to full inclusion in North American society, framing their historical and contemporary position as one of negotiated survival rather than unassailable independence.
Conclusion
In summary, this essay has defined sovereignty with a focus on its legal aspects, applied it to the plots of Broken Arrow and The Searchers, and drawn implications that highlight the tenuous nature of Indigenous autonomy in North America. These films, through their storytelling, underscore ongoing challenges in race and diversity, reminding us of the need for greater recognition of Native self-determination. Such analyses encourage critical reflection on how media representations influence perceptions of Indigenous rights, potentially informing more equitable policies in contemporary contexts.
References
- Aleiss, A. (2005) Making the White Man’s Indian: Native Americans and Hollywood Movies. Praeger.
- Kilpatrick, J. (1999) Celluloid Indians: Native Americans and Film. University of Nebraska Press.
- Oregon Department of Education. (2014) Essential Understandings of Native Americans in Oregon. Oregon Department of Education.
- Raheja, M. H. (2010) Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film. University of Nebraska Press.
- Wilkins, D. E. and Stark, H. K. (2011) American Indian Politics and the American Political System. 3rd edn. Rowman & Littlefield.
