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« The meanings of the word "aesthetic" have been the subject of fierce debatę in aboriginal media circles, as many activists have found film and video a useful tool in organizing, even though they may remain uninterested in morę strictly formal matters. This itself echoes a Griersonian idea of production, given that many aboriginal media groups seem to be focusing on forms that privilege that Griersonian favorite, "education." Furthermore, a good deal of aboriginal media work has been focused on training people to make their own films and video by way of countering imposed representations of their lives (this is especially true of native film and ■ video in Canada's far north). There is certainly a way in which Obomsawin's didactic, pedagogical and utilitarian form could be ascribed to her declarations that her aspirations are primarily educational, as opposed to aesthetic⁷⁶».

Ce parti-pris rejoins la pensee de Perrault, Bulbulian, Lamothe et la mouvance ONFienne qui developpa le cinema-outil, le cinema comme outil de changement social. Et c’est avec fracas que la premiere cineaste issue du monde autochtone canadien s’etablit sur Techiquier politique du Quebec.

To counter imposed representations... Loin d’etre un film ou la camera observe les protagonistes pour nous rendre ensuite ces images monter de faęon linóaire, Obomsawin utilise toutes les possibilitćs et faęon de faire propre aux films de propagandę pour faire passer son point de vue. En voici quelques exemples : (i 10:00) Le maire d’Oka prend la parole, les prochains plans montreront des citoyens blancs opposes a sa vision.

(a 24:30) L’armee s’installe, les Warriors (ici un denomme Wizard) sont peints comme des soldats de defense.

⁷⁶ WH1TE J, 1999, Alanis Obomsawin, documenlary form and the canadian nations, Toronto, The Free Library. CineAction, 24 juillet 2014.