daily life

Establishing shot: These outtakes open with a close up of a man performing a sing and keeping time with a rattle (00:00:06)

Establishing shot:
Named locations:
Major themes covered: life and culture of this Florida tribe
Native activities shown:  
Individuals? Named?  
Native language spoken:
Audible?  
Noteworthy elements:  
Other notes:

Establishing shot: Voice over native song opens frame with a Yokut man sitting, centered in frame, working with a piece of wood going to be used as a bow. In the foreground a small fire pit can be seen. In the background a traditional home can be seen.
Named locations: California
Major themes covered:  An overview of Yokut culture and daily practices

Establishing shot:  Scene opens with a Yokut man sitting, full frame in view, and singing while using a traditional instrument to keep beat. In the background lodgings can be seen. A dissolve cuts to a medium shot of the location with other individuals walking through a small village. During this transition the native song can still be heard and a narrative voice over then begins.
Named locations:  California;
Major themes covered: An overview of the Yokuts of California

NOTE: This film contains demeaning and condescending language that is a product of the historical period of its creation.  These attitudes are not endorsed by AIFG.

The film Real Americans uses multiple references to Native Americans in the past tense via the narration. Jean O’Brien, in  Firsting and Lasting: Writing Indians Out of Existence in New England (2010), discusses similar techniques used by non-Native authors of local historical texts of the 1800’s to relegate the “Indian” to the past.

Establishing shot: Film opens showing a large plane taking off, then moves to a map of the fifty states. Pima Indian Reservation is not seen until 1m58s into the film; the camera centers on a mountain range in the background, with a green field in the foreground. A large saguaro can also be seen, in bloom, on the right side of the frame.
Named locations: Tucson, Arizona; Phoenix, Arizona; Southern Arizona;  Pima Indian Reservation; the Gila River; Texaco Olberg Trading Post (sign, 12m30s); Mexico; the Midwest; Coolidge Dam.

Establishing shot:  The film opens with an Arizona setting. Two large saguaros appear on the far left and far right of the frame, with a mountain in the background. This shot then dissolves, and focuses on a small Tohono O'odham (Papago)
homestead. A young girl (Conca) can be seen exiting the home while her mother sits outside, and a young boy (Cochise, typically associated with Apache) with a dog walks from the far right into the scene.
Named locations: No named location; due to saguaros, the film appears to be set in Arizona

Associate Director: Michael Ream
Executive Producer: Jules Power
Associate Producer: George Charles
Production assistant: William Hilliker, Jr.
Music: John Winters
Technical Supervisor: Len Bottom
Engineering Supervisor: Earl Mehaffey
Technical Director: Chuck Ciegelsky
Video: Jim Doyas
Audio: Corky Hendrick
Graphic Arts: Hy Blay

Establishing shot: Navajo woman sitting at a large loom, her back to the camera, working on a blanket. On screen left a figure can be seen sitting against a tree.
Named locations: Continental Divide, "America's Backbone" Elevation 8300 feet, 11 miles from Navajo Lodge [sign]; Petrified Forest [sign];  Forest Lodge Hotel [sign]; Painted Desert [sign]; Black Petrified Forest [sign]; Trail to [Walnut Canyon] Cliff Dwellings [sign].
Major themes covered: A tourist vacation in Navajo country.

Disclaimer: The narrator claims that the Navajo came from the Gobi Desert and look like Mongols. Fictionalized names and melodic references engage stereotypes of the day. The narration for this film is very racist: generally condescending in tone and full of misinformation about Navajo culture. All of this is told in in light and joking manner; even the narrator is presented as a humorous caricature of a “Wild West” settler rather than a real person.