Abstract
This article analyzes Intrepid shadows, one of the films produced by the Navajo in the sixties, as a way to revisit the conceptual ideas that supported the project Navajo filming themselves, coordinated by Sol Worth and John Adair. The images produced by the Navajo Al Clah are taken literally as intrepid, producing a direct relationship between cosmology and cinema. I explore the relationship between cultural assumptions and filmic structure and the consequent connections between cosmology and cinema as sensory-imagery systems that supplement, alter and contradict the ways of thinking/seeing and seeing/thinking.
Keywords
Indigenous cinema; Cosmology; Navajos; Image; Visual Anthropology
