Abstract: This article examines the Swedish fantasy‐horror‐romance film Gräns (Border, dir. Ali Abbasi, 2018) through queer Indigenous thought and the notion of trans aesthetics, exploring how the film may sensitize its viewers to seeing and feeling with gender variance, queer desire, and the trauma of settler colonialism. Drawing on Eve Tuck’s call for desire‐based research, the article asks what is at stake in queer, trans, and decolonial readings of films that are not necessarily identifiable as such at the surface level. Border centers on a love story between two gender‐fluid trolls who pass as human and whose kin have been subjected to genocide, dislocation, and mutilation, but the film’s reception largely misses the connection to the treatment of Indigenous Sámi people and transgender people within Nordic settler states. The article argues that Border‘s ecstatic depiction of gender‐fluid desires, bodies, and sex, alongside its examination of the psychic consequences of settler colonial violence, make it a thus far unique film in the Nordic context — even though this examination happens through the distancing effect of trolls as metaphorical Natives. The main characters embody wrongness in the settler nation‐state, in heteronormative society, and ultimately in the delimiting category of the human, but the film imagines rightness in nature as a queer, gender‐fluid space where all creatures can just be. Through employing notions of trans aesthetics, the (non)sovereign erotic, refusal, and haunting, the article proposes desire‐based readings of cinema that envision ways of feeling and existing beyond humancentric, settler, binary notions of gender and sexuality.




Abstract: “Big Tales of Indians Ahead” traces the reproduction of settler colonial discourses—sentiments narrated by a settler society about themselves and about the Native American societies that predated them—from the period of colonial history of the seventeenth century to the present day in the twenty-first century. This study argues that the anti-Indian rhetoric that could be found in early colonial EuroAmerican writings, particularly Indian captivity narratives, were reproduced by subsequent settler societies throughout the eighteenth and nineteenth centuries in the form of settler narratives from the overland trail migrations and various forms of popular culture. In the twentieth century these discourses, heavily influenced by past settler discourses, reached wider audiences through new forms of popular culture—particularly Western genre films and mass-produced works of fiction aimed at younger audiences. Finally, this dissertation tracks the ways in which these discourses are still reproduced and present in contemporary popular culture media and political identities in the American West. From Mary Rowlandson’s Indian captivity narrative of the late-seventeenth century to the overland trail settler narratives of the Oregon Trail and the wildly-popular Western films of the mid-twentieth century, Native Americans had consistently been tied to reductive and derogatory depictions in American collective cultural discourses that has tied stereotypes of so-called “Indians” to inherentlyracial traits such as savagery, depravity, and violence. This study not only shows that these assertions from a settler population, and their descendants, has been falsely (and thus unfairly) attributed to racialized notions of “Indianness,” but also provides a clear and consistent historical timeline that tracks these depictions across centuries and various forms of settler discourses.