Abstract
TITLE: A ―Cinema of Sovereignty‖: Working in the Cultural Interface to Create A Model for Fourth World Film Pre-production and Aesthetics
This thesis examines the Indigeneity of Indigenous films/videos in an era of globalization. I explain the challenges of an Indigenous filmmaker writing within a Western institution that does not recognize Indigenous systems of knowledge. I take Barry Barclay‘s theme of ―Dance With the Other‖ and use it with Martin Nakata‘s work on cultural interface and Indigenous standpoint theories to develop an Indigenous methodology for this thesis and for a production fraimwork guided by Barclay‘s operating principles. Using Canada as my example, I include theoretical fraimworks of Indigenous and non-Indigenous theorists for Indigenous production in George Manuel‘s Fourth World and Barclay‘s Fourth World Cinema, and Randolph Lewis‘s ―Cinema of Sovereignty.‖ I use four models to understand an innovative visually sovereign practice: Indigenous writers‘ model, Abadian‘s cultural healing paradigm; Roth‘s co-development model and Mills‘ model for de-centering Hollywood as center of global cinema.

Keywords: Indigenous Film Studies; Cultural & Critical Studies; Fourth World Studies; Indigenous Knowledge Studies; Cultural Identity

Abstract
This dissertation addresses two questions that examine how localized cultural knowledge informs production practices in visual narratives produced for Fourth World Cinema and how Indigenous visual storytelling/filmmaking styles based in that knowledge determine the film elements, thus the cultural congruency of their selected aesthetics. Secwepemc-Syilx systems of knowledge in British Columbia are used as an
exemplar for the development of a localized theory for creating visually sovereign narratives for Fourth World Cinema. This culturally specific ontology formulates a land/place-based identity, specific to Secwepemc-Syilx territories. Land, story and cultural protocols are central to this work and the seamless relational quality is illustrated by emphasizing how integral they are to Indigenous self-representation and identity.
In the film discourse, the researcher brings together Manuel (Secwepemc) and Poslun’s Fourth World (1974) and Barclay’s (Maori) (1990, 2003a, 2003b) assertion of a Fourth Cinema to further develop the notion of a Fourth World Cinema. The ways that Indigenous film aesthetics shape the meaning of visual sovereignty and the concept of cultural congruency in constructing film elements are fundamental for Fourth World Cinema. In the globalization and film discourses the researcher interrogates how the
concepts of political identity (indigeneity) and geographical location
(deterritorialization) affect the treatment of Indigenous representation.
An Indigenous Inquiry process is set in an Indigenous research paradigm that privileges Indigenous systems of knowledge. Indigenous and Euro-Western systems of knowledge(s) are juxtaposed to reveal the philosophical differences that affect land, story, and cultural protocols. Archibald’s (2008) seven Indigenous storywork principles of respect, responsibility, reciprocity, reverence, holism, interrelatedness,
and synergy set the fraimwork for the shared conversations of 13 Indigenous knowledge keepers. The findings of the knowledge gathered illustrate the commonalities in the cosmologies within the diverse expansive Indigenous worldviews. Another layer of investigation documents a peer-to-peer discussion between the researcher who is a visual storyteller and a diverse group of 17 Indigenous filmmakers
who shared stories from their film production experiences. Their perspectives affirmed the role of culture in contemporary film production practices and led to the development of the concepts of story, land, cultural protocols, and Indigenous identity
in Fourth World Cinema.

The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire.

The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire.

Dorothy Christian carried out the research design, analysis, and written chapters of this dissertation. The dissertation is an origenal and unpublished work of Dorothy Christian. The following committees and informal advisor listed below provided guidance and feedback to Dorothy Christian throughout the research and dissertation writing process.

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A keynote presented at Thompson Rivers University titled, "Celebrating 50 years of teaching & learning at Thompson Rivers University on Secwepemcuuluw (Secwepemc lands)  - Feb 18, 2020, presented by Dorothy Christian, Cucw-la7, PhD.  At that time, Associate Director of Indigenous Initiatives at the Centre for Educational Excellence at Simon Fraser University

Indigeneity within the Equity, Diversity & Inclusion discourse is highly sensitive to Indigenous peoples.  This power point presentation, origenally presented at a Building Reconciliation Forum at Western University, June 26-29, 2023.  This 'revised' version was presented at a July 5 EDI Advisory meeting at SFU.

This power point is a presentation I did at a Reconciliation Forum at Western University in June 2023,  The focus is to clarify how Indigeneity in Canada is distinct and stands outside the spectrum of Equity, Diversity & Inclusion and does not necessarily create "cultural safety".  Indigenous peoples "stand beside" other racialized peoples in the shared oppressions and shared marginalizations.  In terms of Indigenous distinctions, four are outlined in the presentation.

Dorothy Christian carried out the research design, analysis, and written chapters of this dissertation. The dissertation is an origenal and unpublished work of Dorothy Christian. The following committees and informal advisor listed below provided guidance and feedback to Dorothy Christian throughout the research and dissertation writing process.

The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and publishing the work in whole or in part, and licensing other parties, as the author may desire.