Abstract

This thesis takes a look at the work of video artist Thirza Cuthand to rethink how resistance is used and discussed in a film studies context. Cuthand’s work uses an intimate, honest and often humorous approach to explore her experiences as a Two-Spirited Butch Lesbian from Little Pine First Nation. Although the video work of Thirza Cuthand has been shown across the country and internationally in spaces such as the National Gallery of Canada and in festivals like Tribeca, MIX Brasil Festival of Sexual Diversity, and Inside Out, Toronto, this is the first in-depth exploration of her work that has taken place. It focuses on six of her short-length works: Working Baby Dyke Theory (1997), Anhedonia (2001), Untouchable (1998), Love & Numbers (2004), Colonization: the Second Coming (1996) and Boi Oh Boi (2012). This thesis uses Cuthand’s work with two primary goals in mind. First, it uses Cuthand’s videos to examine the usefulness of intersectionality as a framework worthy of greater consideration in a film studies context. Specifically, this thesis uses intersectionality to highlight the complicated ways in which power and resistance express themselves across different identity axes. Second, this thesis employs Michelle H. Raheja’s concept of visual sovereignty to suggest that resistance need not be considered merely a reactive gesture but a generative one as well. In doing so, this thesis seeks to use Cuthand’s videos to reorient discussions of resistance in order to challenge a self/Other binary.