Gabriel S. Estrada, "Queer Indigenous Cinemas: Sovereign Genders from Seven Directions" (U Arizona Press, 2026)

Michelle H. Raheja's 'Reservation Realism' examines how Hollywood cinema represents Native Americans, interrogating cinematic techniques and narrative strategies that shape public perceptions. The book traces historical patterns of representation and highlights moments when Indigenous peoples and perspectives are marginalized or misrepresented. Raheja connects film form and visual rhetoric to broader colonial histories and cultural politics affecting Native communities. She emphasizes the need for critical attention to cinematic realism and the power dynamics embedded in film production and distribution. Overall, the work contributes to Indigenous media studies by challenging dominant portrayals and advocating for more authentic Indigenous storytelling.

Gabriel S. Estrada's 'Queer Indigenous Cinemas' maps queer Indigenous media from the Americas, the Pacific, and the Caribbean using seven-directional Indigenous frameworks. The book centers Indigenous spatial and healing practices to analyze films, shorts, and new-media works that feature Two-Spirit, mahu, genderqueer, and other queer Indigenous lives. Estrada interweaves personal reflection, Indigenous methodologies, and film analysis to highlight how directionality, sacred practices, and community protocols shape cinematic narratives. By attending to accessibility and self-representation, the book chronicles shifts from silent and classic Hollywood eras to contemporary Indigenous-produced media. It argues for sovereign mapping and Indigenous-centered frameworks as vital to understanding queer Indigenous cinematic expression.