 Media practices and strategies of resistance in the work of Caroline Monnet 
In recent years, we have noticed more studies devoted to Indigenous arts. Among these, many are on media and digital arts, but are also mostly in English. In Quebec however, still too few researchers have shown interest in the use and appropriation of digital tools in French by Indigenous artists, particularly regarding practices of Indigenous women artists. In this article, I propose to analyze the exemplary case of Caroline Monnet, of mixed Anishinabe and French origin, who is also participating in my doctoral thesis. Through her account of practice, I present how she learned about various technologies and the meaning she attributes to them in the development of her work. I propose an exploration of the themes identified in the interview and their reinvestment in a work that judiciously interweaves multiple media. In the photographic work History shall speak for itself, presented in 2018 at TIFF Bell Lightbox in downtown Toronto, Monnet takes a critical look at the history of film, photography and representations of Indigenous women. Drawing on her training in video and her critical eye for past ethnographic documentaries, she offers a political work of resistance to colonial systems regarding the representations of Indigenous women in Canada through an anti-colonial practice and strategy. Monnet’s work, and her digital photography, 1) highlight the complexity of the processes and dynamics of artists’ (re)assertion in the digital age and 2) explore exercises of reappropriation of their visual representations through the adoption of strategies of citation and transmediation. The project allows the artist, and the community of artists she joins, to both (re)occupy and reclaim the territory of media representations, but also to deconstruct stereotypes. Her reflection on the power of self-representation of the artist sisterhood in a major film and media arts institution in Toronto questions and reverses power relations.