<p>  </p> <p>Free-roaming dogs on Native American Reservations are called rez dogs on the Pine Ridge Indian Reservation, SD. Understanding the human-rez dog relationship is needed to develop best management practices. As a member of the Oglala Lakota nation and a resident of the Pine Ridge Indian Reservation, I used a combination of western scientific methods and Lakota ways of knowing to research how rez dogs are related to their human caretakers on the Pine Ridge Reservation. First, I determined how they are related to humans spatially. To do this, I installed trail cameras at 73 sites distributed within four zones around six communities on the Pine Ridge Reservation. I analyzed presence-absence and count data to estimate how human habitat covariates influenced rez dog occurrence and abundance. My results show that rez dog occupancy and abundance is related to human habitation and emphasizes the importance of considering human caretakers when developing best management practices. To investigate how human caretakers may perceive rez dogs and current management practices on the Pine Ridge Reservation, I used semi-structured questionnaires. I distributed surveys to 107 residents at grocery stores and convenience stores within five towns. The survey assessed the communities' perceptions of rez dog overpopulation, and topics related to their attitude toward dogs overall and rez dog sterilization programs. I used ordinal regression to determine if community member demographics, the number of people and dogs in the household, and distance to the veterinary clinic influenced these variables. My results show community members support rez dog sterilization programs and that policymakers should focus on free or low-cost sterilization programs for ambiguously owned rez dogs in conjunction with owned dogs. In addition, these results highlight how the economic disparity and lack of culturally appropriate methods of rez-dog population control prevent effective management of rez dogs. This dynamic is one example of how the settler-colonialism structure continues to negatively impact Native American communities and prevent effective, efficient, and ethical ways to manage rez dogs. I describe how the Lakota ways of knowing can be used to develop best management practices for rez dogs that are culturally appropriate. I describe the seven Lakota values, lessons learned from the Lakota dog creation story, and approaches to Lakota research methodologies. This paper introduces an example of a seven-generation, One Health framework that implements Lakota ways of knowing to establish rez dog management and centers community values, beginning generational healing through <em>Shunka </em>(dog) caretaking. In conclusion, this research describes how rez dogs are related to us spatially, by occupying the same area as us, and how we are related within a social context, with dogs being an indicator of our own well-being as humans. </p>

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Résumé Cette thèse de doctorat porte sur le cinéma envisagé comme un agent de réappropriation culturelle pour les Premières Nations du Québec et les Inuit du Nunavut. De manière plus spécifique, nous avons cherché à comprendre comment les peuples autochtones et inuit se servent d’un médium contemporain pour prendre la parole, revendiquer leurs droits politiques et réécrire une histoire ayant été jusqu’à récemment racontée selon le point du vue de médiateurs externes. À cet effet, l’emprunt d’éléments propres aux méthodologies autochtones, autant dans la forme que dans le contenu, auront permis de faire ressortir un aspect particulier des cultures autochtones, soit la manifestation d’une pensée orale centrée autour de la notion du sacré. La première partie de cette recherche est ainsi consacrée à la théorisation d’un sacré autochtone omniprésent dans toutes les sphères de leur quotidien, et qui se transpose à l’écran sous la forme d’une esthétique particulière, que nous nommons esthétique du sacré. En outre, le visionnement et l’analyse de courts et de long-métrages autochtones et inuit ont fait ressortir avec force les principaux éléments d’une esthétique du sacré qui s’exprime entre autres à travers une éthique de travail privilégiant la collaboration communautaire et une écoute attentive de la parole de l’interlocuteur, ainsi qu’à travers la remédiation des récits issus de la tradition orale. Ainsi, l’exploration de l’œuvre documentaire d’Alanis Obomsawin met de l’avant l’importance du rôle joué par les femmes autochtones au sein de leurs communautés, celles-ci se présentant comme les principaux agents de changement et médiatrices de leur culture. Dans la même veine, l’étude du projet Wapikoni Mobile nous a permis d’esquisser un portrait nouveau de la jeunesse autochtone, les œuvres réalisées par ces cinéastes néophytes reflétant l’importance pour eux de réactualiser la tradition tout en nourrissant des liens de confiance avec leurs aînés, ces gardiens de la mémoire. Enfin, le dernier chapitre portant sur l’élaboration d’une nouvelle cinématographie inuit démontre comment le cinéma est un outil apte à traduire avec justesse les subtilités présentes dans les récits issus de la tradition orale. / This Ph.D. dissertation addresses the subject of First Nations and Inuit cinema, in Quebec and Nunavut. More specifically, we examine the role of cinema as an agent of cultural re-appropriation for Indigenous and Inuit communities, who have been using a western and contemporary medium to both claim their political and economic rights, and re-write a history that, until recently, has been told by external mediators. Therefore, choosing to borrow elements found in indigenous methodologies, will have allowed us to bring into light a particular aspect of First Nations cultures, i.e. the manifestation of an oral thought process centered on the notion of the sacred. The first part of this thesis is thus dedicated to the theorization of the sacred, a notion that is envisioned by the First Nations peoples as a way of life that can be transposed on-screen through what we chose to name the aesthetics of the sacred. Furthermore, the viewing and analysis of short and long-length films have allowed us to identify the principal elements of an aesthetic of the sacred that reveals itself in the work ethics of the filmmakers (participation of the community in the filmmaking process, attentive listening by the filmmakers of the person speaking) as well as in the remediation, on-screen, of oral tradition. Thereby, the exploration of Abénaquis filmmaker Alanis Obomsawin’s documentary films has put forward the importance of the role played by native women in their communities, the latter remaining the principal agents of cultural change as well as the mediators of their stories and cultures. In the same way, examining the contents of the short films produced by the young Wapikoni Mobile filmmakers has allowed us to discover new facets of native youth, the majority of those short films reflecting a desire to update tradition while building relationships based on trust with the elders of their community. Finally, the last chapter addressing the subject of Inuit cinematography, demonstrates how cinema presents itself as the medium most fit to translate accurately the subtleties found in stories hailing from oral tradition.

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