1. Consider Dippie's assertion that American Indians historically (and currently) have been portrayed alternately as the "noble" or "bloodthirsty savage," staged in poses and surrounded by props that emphasize the particular type of Indian-ness the photographer or artist wishes to communicate. How does the narration and photography of the Indian Picture Opera combine to construct an image of the Indian? Is that image peaceful and noble, or frightening and war-like? What elements, similar to the men surrounded by weapons or dressed in suits that Dippie discusses, are emphasized to create it?
2. Pinney's article tells us that it is generally assumed that both Anthropology and Photography communicate through their respective mediums (pictures or ethnographies) some sort of basic, immutable truths about their subjects. But photographs and ethnographies are both influenced by the attitudes and agendas of their creators. In light of this, what agendas or attitudes toward Indians are evident in the Indian Picture Opera?