There is a riveting scene in the film Bamako where three children are bunched together on a rickety couch watching a Cowboys and Indians themed movie called "Death in Timbuktu." (Danny Glover who helped to fund Bamako plays an Indian). The camera moves from the kids to the actual show and back to the kids which allows the viewer to see how powerful media images are in the consciousness of young , impressionable children naively cheering on the literal murdering and pillaging of folk who look like them. Reel Injun, based on the short description supplied by the New York Times, seems to intend the same effect.
I am very interested in hearing the interviews with Clint Eastwood. The verbal war he had with Spike Lee over the representation of Blacks in World War II are still fresh in my mind.
(SOURCE: New York Times) In his documentary “Reel Injun” the Cree filmmaker Neil Diamond takes a road trip to places that resonate in American Indian history, including the Black Hills of South Dakota, the Crow Agency in Montana and the Navajo Nation, and an imaginative journey through the shifting stereotypes Hollywood has used to obscure that history: the noble native, the brutal savage, the groovy wise man. (source)