Citation :
« In the early days of the [Oka] Crisis, [Alanis] Obomsawin abandoned the project she was working on in order to take a film crew to Kanesatake. Obomsawin remained behind the barricades for the duration of the Crisis, providing the only First Nations-generated footage of this event. The insight she brings, as a Native person, to the Crisis is key to its chronicling and to mediating the experiences of the Mohawk people in the community. Her work fulfills an important archival and communicative function. From the footage she collected over those many weeks, [in addition to Kanehsatake: 270 Years of Resistance] Obomsawin also made My Name is Kahentiiosta (1995), about a Mohawk woman's arrest and defiance after the Crisis; Spudwrench: Kahnawake Man (1997), the story of a Mohawk ironworker involved in the defense of Kanesatake during the Crisis; and Rocks at Whiskey Trench (2000), in which she explores corollary events at another nearby Mohawk community, the reservation of Kahnawake. In all of these films, she deftly weaves Mohawk culture, the politics of community, the history of Native/non-native relations and the experience of trauma with a unique lens on setting, the land itself. »
-- Elizabeth Claire Kalbfleisch

Source :
KALBFLEISCH, Elizabeth Claire. « The Testamental Landscape: Framing Homeland in Alanis Obomsawin's Kanehsatake: 270 Years of Resistance » , dans Bordering on Feminism: Home and Transnational Sites in Recent Visual Culture and Native Women's Art, 2009. Thèse de doctorat, University of Rochester. (pp. 107-108) [en anglais]