Red Fever is a witty and entertaining documentary about the profound Indigenous influences on Western culture and identity, from sport and fashion, to politics and the environmental movement.
Cree filmmaker Neil Diamond has encountered many people in various countries who are completely enamored of Native people. The deluge of questions and reactions he receives about the Native experience prompts him to wonder "Why do they love us so much?" Red Fever follows Diamond on a journey to the four corners of North American and to Europe to find out why the world is so fascinated with the stereotypical imagery of Native people that remains widespread across pop culture.
In the realm of fashion, there has been institutionalized appropriation of Native garb into what is considered "western" or "Americana", while indigenous designers are only now starting to get their due. In sports, Native mascots are widespread, but few understand that their use is derived from the Carlisle Indians football team, who, along with star athlete Jim Thorpe, popularized sports as mass entertainment, and evolved the game of football with cunning innovations. In politics, though Western culture considers modern democracy's origins to be in Greece, the film highlights the Haudenosaunee Confederacy as the oldest continuous democracy in the world, far surpassing modern Western democracies' capacity for gender rights and citizen well-being, and key to inspiring American revolutionaries. Red Fever concludes by considering land stewardship and the Native traditions that offer a path forward towards living responsibility on the planet.
Why have Indigenous cultures been revered, romanticized, and appropriated for so long, and to this day? Red Fever highlights the tragic ironies of this ubiquitous and rampant appropriation while Native peoples were forced to assimilate, and uncovers the fascinating truths and history so entrenched in the global cultural imaginary.
"Red Fever is a fascinating reminder of the manner in which Europeans have been at odds with the peoples whose lands they have taken, whose culture they have attempted to destroy, and whose image they have freely used as they have seen fit. What is, perhaps, one of the film's most interesting aspects is that it is not delivered with bitterness that, perhaps, is deserved, but with compassion and erudition... Red Fever is enlightening and works as a good reminder of the people who have inhabited the Americas for centuries." — Educational Media Reviews Online
"Red Fever is an absolute must-have for any collection... Highly Recommended... Director Neil Diamond uses humor, criticism, and cultural immersion to unpack global obsessions— from sports mascots to spiritual tourism— making this a fresh and necessary perspective in Native media studies. Red Fever is both accessible and provocative, making it an excellent resource for public engagement and academic discourse alike." — Video Librarian
"A profound film that highlights critical issues and celebrates Indigenous cultures." — Rough Draft
"This film achieves its aim of honoring contributions that have been forgotten or buried by time. With both empathy and insight, it navigates complex histories and their modern reverberations through a spirit of respect, care, and hope for understanding between all peoples. Diamond and Bainbridge have crafted a thoughtful, engaging documentary that enlightens as much as it entertains.' — JNews
"Diamond and Bainbridge have made a tremendous documentary that is so fascinating in its breadth of subject matter and ease these stories are told. The film is an exciting addition to the documentary genre that is both fun and informative." — Contra Zoom Pod
Citation
Main credits
Diamond, Neil (film director)
Diamond, Neil (screenwriter)
Diamond, Neil (on-screen participant)
Diamond, Neil (narrator)
Bainbridge, Catherine (film director)
Bainbridge, Catherine (screenwriter)
Allaire, Christian (on-screen participant)
Deloria, Philip Joseph (on-screen participant)
Emmerich, Korina (on-screen participant)
Other credits
Cinematography, John Ashmore [and 14 others]; editor, Rebecca Lessard; music by Jesse Zubot & Pura Fé.