The Inuit Image in Popular North American Culture: 1800’s-1950’s

Selling Mass Market Products and Ideas Using Stereotypical “Eskimo” Images,[object Object],The Inuit Image in Popular North American Culture: 1800’s-1950’s,[object Object]

INTRODUCTION,[object Object], 19th Century American exploration into the Arctic brought many changes for the Inuit. White explorers and traders introduced trade goods and brought new types of industry such as whaling, commercial fishing, and canning facilities alcohol, and firearms which helped to undermine the long traditions of subsistence hunting and seasonal migration. The Inuit, meanwhile, adapted to these changes in innovative ways and provided valuable resources to both exploration and industry.,[object Object], At the turn of the 20thCenturythe clamor for Arctic Indian artifacts, in North America, stemmed from the Vanishing Red Man Theory - a commonly held belief that all Indians would soon be gone. In addition to this was the burgeoning public sense of diminished male virility due to industrialization and therefore “maleness” needed to be rediscovered by testing one’s mettle in the wildest places on Earth. Once these thrill-seekers were back home ,explorers as well as other Arctic enthusiasts, hosted many lectures and workshops for the public that were filled with tales of derring-do, heroic feats, wild animals and even wilder people. Sensationalism and exaggeration ruled the day, creating misconceptions and stereotypes of the Inuit which lasted well into the 20th Century. ,[object Object],The purpose of this exhibit is to look at how the misconceptions created by early Arctic explorers, traders, and enthusiasts helped shape the American idea of the Arctic Inuit and how that image has been appropriated by mainstream advertising for the purpose of selling a product or idea. Although certainly not all inclusive, this online exhibit will cover a period of late 1800’s to the 1950’s, coinciding with the birth of advertising in the United States. ,[object Object]

Curiosity of the New “Others”,[object Object],One of the most interesting and damaging things explorers brought back with them was a need to create as well as satiate what David Chapin calls the “culture of curiosity” in his book, Exploring Other Worlds. Elizabeth Hutchinson’s book Indian Crazealso speaks to the explosion and fervor of collectors, so prevalent in the lower states, who sought to gain a piece of Indian cultures through the active collection of souvenirs and specimens. She describes the “Indian Corner” as something which every fashionable Victorian Era home would have had in order to display their exotic treasures. ,[object Object],One way of capturing the “Otherness” of the Arctic Inuit and preserve them for all time was through photographs like this one taken by Edward S. Curtis , in 1928, for his series titled North American Indian. Images such as this helped sustain the reports of early Arctic explorers meeting beautiful, friendly, and cheerful Eskimos. While Curtis’ photos were highly prized and sought after, he was also criticized for staging photos and using the same props in multiple images in order to create the desired or marketable “look.”,[object Object],Image Caption:,[object Object],Tit le: Ola-Noatak (North American Indian; V. 20),[object Object],Artist: Photographed by Edward S. Curtis ,[object Object],Medium: Photogravure, (1928) ,[object Object],Image Courtesy of the Library of Congress Digital Archives,[object Object]

Curiosity of the New “Others”,[object Object], The Bureau of American Ethnology (BAE) was originally established within the Smithsonian Institution by Congress in 1879. The purpose for its creation was the study of North American Indians for the U.S. government. Reports of tribal practices, details of life ways, and recorded material culture were prolific at the turn of the 20th Century. ,[object Object], Images such as this of a young Arctic Inuit man were commonplace with the subject shown in a full face and profile view. In official reports. Oftentimes the language of the reports was clinical in nature, describing general characteristics such as the height a Native group, whether they were stocky, had facial hair or piercings, etc. This type of imaging, paired with the in-depth reports of everyday Native practices, was instrumental in the dissemination of previously unknown information to the public. Armchair enthusiasts sprang up all over the country, clamoring for more information, artifacts, and knowledge of these “Others” in their midst.,[object Object],Image Caption:,[object Object],Title: KIÑUGUMUT MALE, SU-KU-UK, Age 25,[object Object],Bureau of American Ethnology,[object Object],Eighteenth Annual Report, Plate IV,[object Object],U.S. Serial Set, Number 4014,[object Object],Image Courtesy of the Library of Congress Digital Archives,[object Object]

Curiosity of the New “Others”,[object Object], Despite the clinical review of Natives by the Bureau of American Ethnography and the documentary procedure for taking photos, some images represent a warm, family oriented atmosphere like this sketch by Bureau artist, Harold Macdonald . Even though the image subject is in full face view, Macdonald has created an intimate, family setting with the woman and child behind the central male figure. ,[object Object],This type of image also reiterated the social values of family during this era in America with the male being central to the household, out front in the public eye as the first and most important figure. The woman’s placement, located just behind the male, is representative of the earlier Victorian notion of the feminine domestic sphere as center of the family, caretaker of children, and moral pillar of the home. The little girl also represents an earlier idea of childhood, as one that should be seen but not heard. Despite that, she is depicted as curious and hauntingly direct in her gaze. ,[object Object],Image Caption:,[object Object],Title: Malemut Family From Shaklotik,[object Object],Bureau of American Ethnology,[object Object],Eighteenth Annual Report, Plate III,[object Object],U.S. Serial Set, Number 4014,[object Object],Image Courtesy of the Library of Congress Digital Archives,[object Object]

Stereotyping the Image of the Eskimo,[object Object], Harper’s New Monthly Magazine published this poem in January, 1889 as an example of an Eskimo myth. Here one can see the difference between images provided by government based organizations like the Bureau of American Ethnology and general public media such as Harper’s Weekly Magazine. Meeting the desires of a mass audience, images of Eskimos were changed to fit the stereotypical image of Indians in North America. Unlike previous images, here the young Eskimo is bare-chested and dressed in buckskin leggings that would be more suited to the Plains region. His long braids swing in the Arctic wind as he clutches his long bow in his hand. Aside from the obvious lack of cold weather clothing, one wonders where he found wood for the bow and arrows he is carrying as it was a scarce commodity in land located above the tree line. Nevertheless, these types of familiar and accepted ideas helped create a sense of recognition in the public and an easy way to label Arctic peoples.,[object Object],Image Caption: “I Felt the Wind of Their Whirling Flight”,[object Object],Poem Title: Ballad of the Bird-Bride. (Eskimo) Original Source: Harper’s Weekly Magazine , Vol. LXXVIII, No. 464,[object Object],Date: January, 1889,[object Object],Image Courtesy of Cornell University Library,[object Object]

Late 19th Century Eskimos in Advertising ,[object Object], In 1893 Kodak released this advertisement featuring a sled dog team running through the Arctic snow. Although the language of the ad refers to Lieutenant Robert E. Peary’s expedition into the Arctic, it also invokes an idea of the Eskimo for the general public as the “queer inhabitants” that Peary interacted with. Although there is no physical representation of the Eskimo people, this vague and subjective type of written description would help formulate a sense of “Otherness” in regards to how the Euro-American masses would see Inuit people in decades to come. ,[object Object],Image Caption:,[object Object],Title: The Kodak at the North Pole,[object Object],Genre: Magazine Advertising,[object Object],Date: 1893,[object Object],Publication: Harper’s Magazine,[object Object],Image Courtesy of Library of Congress Digital Archives,[object Object]

Turn of the Century Eskimo as a Cultural Commodity,[object Object], Dukes Cigarettes created these cards as a way of promoting their tobacco products. The “Esquimeaux” is portrayed ,on the back of the card, as rather brutal to the sled dogs by holding them in “subjection by severe discipline with the whip.” Yet it seems the writers hold the sled dogs in higher esteem than the Eskimos when the card further states, “They [dogs] are the most important and interesting elements of Labrador life…”,[object Object],Image Caption:,[object Object],Title: 50 Vehicles of the World (Front),[object Object],Genre: Collectible Booklet [Advertising],[object Object],Date: Late 19th-Early 20th Century,[object Object],Image Courtesy of Duke University Archives,[object Object],Image Caption:,[object Object],Title: 50 Vehicles of the World (Back),[object Object],Genre: Collectible Booklet [Advertising],[object Object],Date: Late 19th-Early 20th Century,[object Object],Image Courtesy of Duke University Archives,[object Object]

Turn of the 20th Century Advertising Images,[object Object], Found in the Smithsonian Archives this image is representative of the emerging white presence in the Arctic. This in an interesting mix of a two-fold message . At first it is of the innocence of whites as babes-in-the-woods against the terrible hazardous bear of the North. Upon secondary inspection, the figures seemdressed as Inuits but in fact wear fashionable parkas and curly toed boots. The girl uses a hand warmer, or muff, which was part of high American fashion at the turn of the 20th century. ,[object Object],The rather ambiguous imagery speaks to the need for “civilized” society to assimilate the Inuit and clean the “Eskimo” children up to transform them into versions of white American society.,[object Object],Image Caption:,[object Object],Title:"White Ceylon“,[object Object],Creator: Kirk, James S., & Co.,[object Object],Genre: Advertising Card,[object Object],Date: Mid 19th – Mid 20th Century,[object Object],Description: Two Eskimo children looking at polar bear in fright.,[object Object],Image Courtesy of Smithsonian Archives,[object Object]

The Eskimo Image In Early 20th Century Popular Music,[object Object], Public imagery of the “Eskimo” was not just relegated to photographsor drawings . Music permeated American culture and was used as a vehicle through which ideas, morals, and social norms were expressed. In 1909 Walter Pierson, Jr. and Samuel K. Stinger, Jr. wrote the words and music to a piece titled, Aurora Borie Alice. Through the words one can observe an example of the discrimination and racism directed toward Native people, particularly of the Inuit, by mainstream America. Also referred to in this piece is the accepted, but not spoken of, practice of taking an “Eskimo wife” for the time an explorer was away from home.,[object Object],Aurora Borie Alice,[object Object],Little Eskimo, in your house of snow, ,[object Object],Way up by the Polar Sea;,[object Object],Yet there is no light the long Arctic night,,[object Object],And I must soon go away;,[object Object],Sweet Aurora Borie Alice,,[object Object],In your snowy crystal palace,,[object Object],There’s no girl in all the world compares to you,,[object Object],And although your skin is yellow,,[object Object],Yet I want to be your fellow,,[object Object],Underneath I know your heart is true.,[object Object],Image Caption:,[object Object],Title: Aurora Borie Alice,[object Object],Artists: Walter Pierson, Jr. & Samuel K. Stinger, Jr.,[object Object],Genre: Sheet Music,[object Object],Date: 1909,[object Object],Image Courtesy of Duke University Library Historic American Sheet Music Collection,[object Object],To hear the music for this piece click Halcyondays Music and scroll down page.,[object Object]

The Subdued Eskimo1900’s,[object Object], ThisSanta Fe Railway advertisement from 1909 depicts the “Otherness” of Inuit people combined with the nationalistic pride of “conquering” the Arctic and the West. At the turn of the 20th Century there was a popularly accepted notion of the Vanishing Red Man which the woman here seems to embody. The Inuit woman (representing traditional ways) is facing away from the viewer with her head down, almost giving off a sense of inevitability as she waits to leave for parts unknown. In contrast, the little boy is eagerly awaiting the arrival of the train and the journey. He holds a direct gaze, inviting the viewer into his space and conversely inviting himself into the viewer’s. The boy represents the perceived future of the Inuit, of open communication, learning the white man’s ways and taking on the trappings of “civilized” life below his Arctic home. His bag is packed and marked with the logo of the Santa Fe Railway which used images of Natives as part of their regular advertising, even calling one engine type the “Super Chief.” ,[object Object], While the language “See me at Seattle” refers to the Alaska-Yukon -Pacific Exposition of 1909 the phrase , “May I help plan a Western outing trip for you ?” is a reference to the seemingly conquered , subservient Indian. This compliant image comes after decades of forced relocation of Indians onto reservations.,[object Object],Image Caption:,[object Object],Title: Santa Fe Railroad AdvertisementOriginal Source: Review of Reviews Magazine,[object Object],Date: 1909,[object Object],Image Courtesy of Catskill Archive,[object Object]

Brining the Inuit Image Into the Home,[object Object], According to the Horace A. Kimball Foundation website, Henry Millis founded the Clicquot Club Company in 1881. By utilizing the Inuit image of Klee-ko the Eskimo, he was not only trying to capture the purity of his product and liken it to the purity of the Arctic landscape but also the ruggedness of the natural ingredients. Therefore , he was appealing to the mass market who were caught up in the Arctic exploration fervor. Oddly enough, the “American” image of the Inuit as icon was in direct opposition to Henry Millis’ reason for naming it Clicquot. According to the website, “Because it was so like champagne, Henry Millis suggested that he name it Clicquot Club, borrowing the term from the famous family whose historic product is still bottled in the chateau country of France.” That disassociation didn’t deter Millis though for in 1920’s he erected an electric sign that spanned a city block in which, “The vivid action of the Eskimo boy, the whip cracking and the radiating Aurora Borealis required 21 miles of wiring and 20,000 electric lamps at a cost of $90,000 a year.”,[object Object],The imagery of the “Happy Eskimo” would reign throughout Clicquot Club’s product history as well as mass marketing in general.,[object Object],Image Caption:,[object Object],Title: Clicquot Club Ginger Ale Bottle HolderDate: 1881,[object Object],Image Courtesy of the Advertising Icon Museum.,[object Object]

The “Cheerful Eskimo” of the 1920’s,[object Object], The idea of Inuit people being cheerful, happy, and helpful found its way into the world of American snack foods in 1921 through the invention of the Eskimo Pie® by Christian Kent Nelson. Having spent considerable time inventing a chocolate covered ice cream treat, Nelson then needed an image to solidify the confection in American imagination. Choosing a rendering of a short, smiling, and perpetually happy Inuit child, Nelson branded his product. ,[object Object],The product icon image spoke to the ongoing Arctic explorations of the time and the stereotype of “happy Eskimos” at the same time grabbing the American public’s love of sweets and bridging a gap between two worlds. By involving the imagery of an Eskimo child his product was non-threatening and approachable. The figure quickly became an American icon, gracing not only boxes, billboards, music, and advertisements, but also made cameos in a later film, Who’s Minding the Mint (1967)featuring Bob Denver. ,[object Object],Image Caption:,[object Object],Title: Eskimo Pie® Product BoxDate: 1920,[object Object],Image Courtesy of Eskimo Pie® product website,[object Object]

Big Band and Radio of the 1920’s-30’s,[object Object], Where the original idea of one Eskimo worked well to promote a product for both Eskimo Pie® and Clicquot Club, the idea more would be better. Under the direction of Harry Reser, the Clicquot Club Eskimos were on the radio airwaves for 10 years (1925-1935). Their weekly show was half an hour in duration and according to the group bio included the band members wearing parkas while performing in front of a live audience. Although not an official commercial in the strictest sense, the Club Eskimos were among the first groups to promote their product in an advertisement fashion at the end of their show. ,[object Object],For an example of their Big Band Banjo music, follow the link for “I’m So Afraid of You”,[object Object],Image Caption:,[object Object],Group Title: Clicquot Club Eskimos,[object Object],Song Title:” I’m So Afraid of You” (1931),[object Object],Genre: Big Band (Banjo Band),[object Object],Date: 1925-1935,[object Object],Image & Sound Courtesy of Internet Archive,[object Object]

1950’s Travel,[object Object], In this Canadian Pacific advertisement from 1951, Inuit culture is reduced to a commodity in the tiny totem pole souvenir the woman holds as well as the physical description of the landscape.,[object Object], “Adventure met us when we docked at Skagway, Alaska. Inland trips to the historic Gold Rush country…flowers big as baskets…fjords and the Midnight Sun…native children…glaciers, totem poles…a camera fan’s paradise! The trip back to Vancouver made our vacation perfect to the end.”,[object Object], A pleasant looking young Inuit woman is set apart from the travelers and looks on as they handle a replicated piece of her culture. Inuit are mentioned only in the least threatening form – children – and as part of the landscape of flowers, fjords, and glaciers.,[object Object],Image Caption:,[object Object],Title: “We discovered Alaska with all its adventure and romance”,[object Object],Genre: Travel Advertisement [Railroad],[object Object],Date: 1951,[object Object],Image Courtesy of Duke University Archives,[object Object]

1950’sSexing Up the “Eskimo” Image,[object Object], According to the Boston Herald, the Clicquot Club introduced a female counterpart for Clicquot Club’s already famous icon, Klee-ko the Eskimo. The report stated, “The campaign will use the firm's Eskimo boy trade character, one of the most famous in the history of advertising, and will introduce a companion character in the form of a blonde girl, also in Eskimo costume, to be known as ‘Lotta Sparkle’.”,[object Object], The idea of using an “Eskimo” female during the post war era was building on the nuclear family idea in that Klee-ko needed a female partner. Sexy and sultry, Lotta Sparkle was said, “to be found in every glass of Clicquot” and was an attractive way of suggesting an association with sex and the Clicquot product. What is not mentioned in the ad is the jab at inter-racial issues with the All-American, blond haired, white Clicquot girl and the icon of a swarthy Inuit persona.,[object Object],Image Caption:,[object Object],Title : “Miss ’Lotta Sparkle,’ Clicquot Club’s new trademark character, meets Thomas F. Black, Jr., Clicquot Club President, at a party which marked the start of a stepped-up advertising campaign for the company.”,[object Object],Original Source : Boston Herald,[object Object],Date: 1956,[object Object]

Imagining the Eskimo helped shape the American perspective of life in the Arctic through the stories of,[object Object],explorers, traders, travelers, and industrialists. From the first reports, Inuit people were subject to the,[object Object],interpretation of others who were interested in fostering their own agendas as well as that of a nation.,[object Object], The perceived image of the Inuit was prevalent in various types of popular culture during the late 19th,[object Object],and early 20th centuries. That popular image idea did not disappear from advertising strategies after the,[object Object],1950’s when the image became more prominent through the company logos of Eskimo Joe’s, Alaska,[object Object],Airlines, Cadbury/Pascall candy company. In addition, the image prevailedamong other popular songs,[object Object],and film over the ensuing decades.,[object Object], Early advertising strategies help us see examples of social thought and public policy strategies of each era.,[object Object],By viewing how the idea of the Inuit image has changed over decades of use, it is possible to see a glimpse of,[object Object],changing perspective and link it to nationalistic agendas. What is lacking, in the advertisements shown in this,[object Object],exhibit is the Inuit perspective. For only when they are allowed to have their own voices can the topic of Inuit,[object Object],Identity misconception truly begin to be understood.,[object Object],Conclusion,[object Object]

How is the image of the “Happy Eskimo” perpetuated in early advertisement?,[object Object],Did companies care about the cultural sensitivity to the Inuit in regards to product advertisements and likeness? Why or why not?,[object Object],A lot of company logos have been around for decades. How would established branding change if a well known company altered its “Eskimo” image to something else? Would it have the same nostalgic impact for the public?,[object Object],With contemporary cultural awareness, movements is there a way for an image of an Inuit to be used that wouldn’t offend consumers?,[object Object],Was it possible to use Arctic imagery for popular culture purposes (film, advertisement, music, etc.) that didn’t involve Inuit representations during the 19th and early 20th centuries? Why or why not?,[object Object],EXHIBIT QUESTIONS,[object Object]

Bibliography,[object Object],"Alaska-Yukon-Pacific Exposition." Library Digital Collections. University of Washington, n.d. Web. 8 May 2010. <http://content.lib.washington.edu/aypweb/>. ,[object Object], ,[object Object],"Bureau of American Ethnology Guide to the Collection." National Anthropological Archives and Human Studies Film Archives. Smithsonian Institution, n.d. Web. 2 May 2010. <http://www.nmnh.si.edu/naa/guide/_b3.htm>. ,[object Object], ,[object Object],"Bureau of American Ethnology Introduction." Digital Collections. Smithsonian Institution, 1996. Web. 1 May 2010. <http://www.sil.si.edu/DigitalCollections/BAE/baeintro.htm>. ,[object Object], ,[object Object],"Duke's Cigarette Booklets of Civil War Generals." Special Collections. Ed. Lisle Brown. Marshall University, 2006. Web. 6 May 2010. <http://www.marshall.edu/library/speccoll/virtual_museum/duke/default.asp>. ,[object Object], ,[object Object],"Emergence in Advertising in America: 1850-1920." Duke Library Digital Archives. Duke University, 2008. Web. 6 May 2010. <http://library.duke.edu/digitalcollections/eaa/>. ,[object Object], ,[object Object],"Harry Reser (1896-1965)." Red Hot Jazz. N.p., n.d. Web. 25 Apr. 2010. <http://redhotjazz.com/reser.html>. ,[object Object], ,[object Object],"Historic American Sheet Music." Digital Collections. Duke University, 24 Oct. 2008. Web. 3 May 2010. <http://library.duke.edu/digitalcollections/hasm/>. ,[object Object], ,[object Object],"Our History." Eskimo Pie. N.p., n.d. Web. 29 Apr. 2010. <http://www.eskimopie.com/OurHistory.php>. ,[object Object], ,[object Object],"Our History." Horace A. Kimball Foundation. N.p., n.d. Web. 26 Apr. 2010. <http://www.hkimballfoundation.org/history.htm>. ,[object Object]

Bibliography Continued,[object Object],"Polar Pathways: About Robert E. Peary." Peary-MacMillan Arctic Museum. Bowdoin College, July 2007. Web. 6 May 2010. <http://learn.bowdoin.edu/arctic-museum/exhibits/pearys-north-pole-explorations/robert-e-peary/>.,[object Object], ,[object Object],"The Clicquot Club Eskimos." Red Hot Jazz. N.p., n.d. Web. 25 Apr. 2010. <http://www.redhotjazz.com/eskimos.html>. ,[object Object],Alaska Airlines. N.p., 1995. Web. 8 Apr. 2010. <http://www.alaskaair.com/default.aspx?cm_ven=&cm_cat=&cm_pla=&cm_ite=>. ,[object Object],American History Archives Center. Smithsonian Institution, 2008. Web. 2 May 2010. <http://americanhistory.si.edu/archives/b-1.htm>. ,[object Object], ,[object Object],Boston Herald. N.p., n.d. Web. 8 May 2010. <http://www.bostonherald.com/>. ,[object Object], ,[object Object],Cadbury/Pascall. Cadbury Ltd, 2010. Web. 8 Apr. 2010. <http://www.cadbury.co.nz/About-Cadbury/Cadbury-New-Zealand.aspx>. ,[object Object], ,[object Object],Canadian Train Vacations. Freshtracks Canada, 10 Mar. 2009. Web. 8 May 2010. <http://www.canadiantrainvacations.com/?cpao=111&cpca=Train+Travel+US+%28Exact%29&cpag=Canadian+Pacific+Exact&kw=canadian%20pacific&gclid=CMPYkZvzx6ECFZvE3AodsQ-7ag>. ,[object Object], ,[object Object],Catskill Archives. N.p., n.d. Web. 3 May 2010. <http://www.catskillarchive.com>. ,[object Object], ,[object Object],Chapin, David. Exploring Other Worlds: Margaret Fox, Elisha Kent Kane, and the Antebellum Culture of Curiosity. Boston: University of Massachusetts Press, 2004. Print.,[object Object]

Bibliography Continued,[object Object], ,[object Object],Cornell University Library. Cornell University, 2010. Web. 2 May 2010. <http://digital.library.cornell.edu/>. ,[object Object],Curtis, Edward S. "The North American Indian, being a series of volumes picturing and describing the Indians of the United States and Alaska." Smithsonian Institution Research Information System (SIRIS). Smithsonian Institution, 2001. Web. 1 May 2010. <http://siris-libraries.si.edu/ipac20/ipac.jsp?menu=search&aspect=subtab114&npp=20&ipp=20&spp=20&profile=liball&ri=&term=&index=CALLL&x=10&y=14&aspect=subtab114&term=&index=CALLO&term=131822&index=UTIL>. ,[object Object], ,[object Object],Digital Collections and Services. Library of Congress, n.d. Web. 1 May 2010. <http://www.loc.gov/library/libarch-digital.html>. ,[object Object], ,[object Object],Edward Sheriff Curtis: Photographer, Ethnologist, Friend of the American Indian. Snow Crest Web Design, 2000. Web. 10 May 2010. <http://www.edwardscurtis.com/curtisbio.html>. ,[object Object], ,[object Object],Eskimo Joe’s. N.p., 2009. Web. 8 Apr. 2010. <http://www.eskimojoes.com/>. ,[object Object], ,[object Object],Halcyon Days Music. N.p., n.d. Web. 1 May 2010. <http://www.halcyondaysmusic.com/>. ,[object Object], ,[object Object],Hutchinson, Elizabeth. The Indian Craze: Primitivism, Modernism, And Transculturation in American Art, 1890-1915. London: Duke University Press, 2009. Print. ,[object Object], ,[object Object],Icon Advertising Museum. N.p., n.d. Web. 26 Apr. 2010. <http://advertisingiconmuseum.org/>. ,[object Object], ,[object Object],Internet Archive. N.p., 10 Mar. 2001. Web. 30 Apr. 2010. <http://www.archive.org>. ,[object Object]

Bibliography Continued,[object Object],Internet Movie Database. Amazon, 1990. Web. 30 Apr. 2010. <http://www.imdb.com>. ,[object Object], ,[object Object],Kodak. N.p., n.d. Web. 7 May 2010. <http://www.kodak.com/eknec/PageQuerier.jhtml?pq-path=2/6868&pq-locale=en_US&_requestid=47839>. ,[object Object], ,[object Object],Santa Fe Railway Historical and Modeling Society. N.p., n.d. Web. 10 May 2010. <http://atsfrr.com/>. ,[object Object], ,[object Object],Smithsonian Institution. N.p., n.d. Web. 16 Apr. 2010. <http://www.smithsonian.org/>. ,[object Object], ,[object Object],Tomson, Graham R. "Ballad of the Bird Bride." Harper's New Monthly Magazine 78.464 (1889): 224-28. Web. 2 May 2010. <http://digital.library.cornell.edu/cgi/t/text/pageviewer-idx?c=harp;cc=harp;rgn=full%20text;idno=harp0078-2;didno=harp0078-2;view=image;seq=00234;node=harp0078-2:1,[object Object]

The Inuit Image in Popular North American Culture: 1800’s-1950’s

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The Inuit Image in Popular North American Culture: 1800’s-1950’s