Problem
In her essay "Storytelling and Resistance" Zuzana Pick sets out a clear position pointing out that Alanis Obomsawin's films "rework documentary conventions and place representation at the service of a Native political and aesthetic agenda". In what ways do you think Obomsawin's films establish a pattern and an Indigenous film practice that others might emulate? Drawing examples from Obomsawin's film Christmas at Moose Factory, show how she establishes this Indigenous voice, autonomy and subjectivity. If you want to use a film you screened from the imagine NATIVE film festival to support your ideas, please feel free to do so.