landscape’ (Topash-Caldwell, 2020, p. 84). The films screened at the Pokagon community center in the late spring of 2019 are part of a larger trend in Indigenous-made media in recent years. These films inspire contemplations of how traditionalknowledge and community-specific values inform Indigenous agency in alternative realities.
Indigenous futurisms as expressed in works of speculative or science fiction2 is a conceptual rejection of theoretical, institutional, and political projects—both in the
BLAIRE TOPASH-CALDWELL
Borderlands, Volume 19 , ISSUE 2, 29–62
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