MOTION-PICTURE / DIGITAL MEDIA / PHOTOGRAPHY

Mission: Paper Rocket Productions (PRP) mission is to provide uniquely tailored video production services and support by incorporating the latest in Entertainment Technology to author sophisticated and creative content for the Motion-Picture, Digital-Media and Photography. Paper Rocket Productions provides services for Individuals and organizations. PRP is located in the Northern Arizona region, home to many beautiful Geological Locations, Indigenous Communities, New Opportunities for Social Entrepreneurship and Social Impact. Currently their is a displacement of media literacy, in indigenous communities not owned or operated by indigenous people. PRP thrives to inspire indigenous community members to convey their stories through Motion-Picture, Digital-Media and Photography. We are dedicated to give our audience's a new perspective of Indigenous people in the United States and the world.

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Production (Project)

Operations begin with our clients contacting our company for intended use of our services. We develop a structure or script to follow, our client’s video enters production and after production the video clips are secured via hard drives to be edited and finished for intended use on the Internet or for internal use.

 


Crew

By providing a diverse environment Paper Rocket Productions can select the right crew for each job based on the intended jobs specific objectives and duties. Our crews can handle shoots ranging from sit-down interviews, multi-camera shoots that require several crew members to manage a production.


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Synopsis: Calvin is a young boy who has lost his father, his dream is to find him. In order to do so he builds a makeshift space rocket that he hopes to use and find his father against his mother's advice.

Directed: Donavan Seschillie

Producer: Deidra Peaches

Starring: Micheal Sangsteer, Danielle D. Henry, Timothy Cronley Jr. and Alana Nicole Clark

From 2014 - 2015 Paper Rocket Productions produced several short videos with Project 562, focusing on indigenous community members who are making a difference in their community. From Alaska, The Southwest and to the East Coast Project 562 continues to represent indigenous people paving a path for their future.

Matika Wilbur, one of the Pacific Northwest’s leading photographers, has exhibited extensively in regional, national, and international venues such as the Seattle Art Museum, the Burke Museum of Natural History and Culture, The Tacoma Art Museum, the Royal British Columbia Museum of Fine Arts, and the Nantes Museum of Fine Arts in France. She studied photography at the Rocky Mountain School of Photography in Montana and received a bachelor’s degree from Brooks Institute of Photography in California. Her work led her to becoming a certified teacher at Tulalip Heritage High School, providing inspiration for the youth of her own indigenous community. 

Matika, a Native American woman of the Swinomish and Tulalip Tribes (Washington), is unique as an artist and social documentarian in Indian Country- The insight, depth, and passion with which she explores the contemporary Native identity and experience are communicated through the impeccable artistry of each of her silver gelating photographs.

Currently in Production (2009 - present)

 

Short Summary

Tó éí ííná át'é (Water is Life) is a film illustrating environmental and social issues impacting indigenous nations in the Southwest of the United States. Two filmmakers (Peaches and Hoyungowa) guide us through the history of industry and the indigenous perspective often overlooked by mainstream media. 

The Filmmakers

As young Navajo filmmakers, we’ve set out to illustrate the environmental and social impacts of industrial development and the continued struggle of the Navajo People. We also touch upon how the history of our people has impacted future generations of indigenous people in the United States and beyond. We hope our depiction of these struggles could lead to change in the Navajo/Hopi Government and most importantly, the People.

In the Navajo culture, water is sacred, without water there would be no life. So it is disheartening for many to suffer the repercussion's of companies like "Peabody Coal Mine", which for over 40 years used 1.4 billion gallons of potable water to slurry coal from Black Mesa, AZ to Laughlin, NV. Within the 273 mile stretch of pipeline, its puzzling to see how Peabody Coal was able to create a sustainable pipeline while many Navajo families are still without running water.

With the Colorado River outlining the north western region of the Navajo Nation, it would seem practical to assume that the people themselves have an entitled right to the water. Yet, through the creation of the Central Arizona Project (CAP), Black Mesa Coal Mine,  Kayenta Coal Mine, Four Corners Generating Station, Mohave Generating Station, Navajo Generating Station, Palo Verde Nuclear Power Plant, and Uranium Mining-have spawned greater problems for the Navajo and Hopi nations.

The use of unregulated and untreated water poses a constant health risk from uranium exposure, resulting in significant effects on the health of the Navajo people. Reproductive-organ cancers in teenage Navajo girls average 17 times higher than the average of girls in the United States yet, many Navajo people and their livestock are still drinking uranium & arsenic contaminated water.

As young Native American filmmakers, we feel obligated to document the ongoing struggles of Native Americans and the loss of their initial entitlement to the natural resources that surround their sacred boundaries. Through the production of our documentary, we hope to restore hope for future generations. Maybe the depiction of these struggles could lead to change in the Navajo/Hopi Government and most importantly, the People.

Our creativity was inspired by many of todays filmmakers and those artist making social impacts in our communities. Many of these films are produced by friends, organizations or out of our own pocket. These films tell a story not about us as filmmakers but as we see the world around us. In the Early Years we made movies because it was fun.

Paper Rocket Productions: A decolonizing epistemology of young Indigenous filmmakers

by Xamuel Bañales

This Interview explores the significance of Paper Rocket Productions-an independent film company co-founded by young Indigenous filmmakers in Northern Arizona, USA. The author highlights why their artistic works are exceptional, followed by a discussion with two of the filmmakers and co-founders of the enterprise. The conversation brings attention to their filmmaking, primarily to the forthcoming feature-length documentary "Water is Life - Tó éí ’iiná até". This film reveals how the industrilization of the Navajo Nation negatively affects the sacredness of water and traditional ways of life, and the interview calls attention to how Paper Rocket Productions relates and contributes to a decolonizing epistemology.

Politics of Identity: emerging idigneity

Edited by Michelle Harris, Martin Kakata and Bronwyn Carlson

UTS ePress ISBN: 9780987236920

The issue of Indigenous identity has gained more attention in recent years from social science scholars, yet much of the discussions still centre on the politics of belonging or not belonging. 

While these recent discussions in part speak to the complicated and contested nature of Indigeneity, both those who claim Indigenous identity and those who write about it seem to fall into a paradox of acknowledging its complexity on the one hand, while on the other hand reifying notions of 'tradition' and 'authentic cultural expression' as core features of an Indigenous identity. Since identity theorists generally agree that who we understand ourselves to be is as much a function of the time and place in which we live as it is about who we and others say we are, this scholarship does not progress our knowledge on the contemporary characteristics of Indigenous identity formations.

The range of international scholars in this volume have begun an approach to the contemporary identity issues from very different perspectives, although collectively they all push the boundaries of the scholarship that relate to identities of Indigenous people in various contexts from around the world. Their essays provide at times provocative insights as the authors write about their own experiences and as they seek to answer the hard questions: Are emergent identities newly constructed identities that emerge as a function of historical moments, places, and social forces? If so, what is it that helps to forge these identities and what helps them to retain markers of Indigeneity? And what are some of the challenges (both from outside and within groups) that Indigenous individuals face as they negotiate the line between 'authentic' cultural expression and emergent identities? Is there anything to be learned from the ways in which these identities are performed throughout the world among Indigenous groups? Indeed why do we assume claims to multiple racial or ethnic identities limits one's Indigenous identity? The question at the heart of our enquiry about the emerging Indigenous identities is when is it the right time to say me, us, we... them?

10. Refusing Nostalgia: Three Indigenous Filmmakers' Negotiations of Identity

by Jeff Berglund

(Paper Rocket Productions is feature on page 185)