Cinematic Culture and Cultural Policy in New Zealand : Nationalism and Cultural Identity in Maori Film

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Other Title
  • 多民族国家ニュージーランドの映画文化と文化政策について : 先住民族マオリの位置づけを中心に
  • タミンゾク コッカ ニュージーランド ノ エイガ ブンカ ト ブンカ セイサク ニ ツイテ センジュウ ミンゾク マオリ ノ イチズケ オ チュウシン ニ

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Abstract

The purpose of this paper is to analyze and outline the history, current circumstance and future perspective of cinematic culture and cultural policy in New Zealand, mainly in connection with the social movements of Maori people for nationalism and cultural identity. From the beginnings of New Zealand film until as late as the 1970s, cinematic images of Maori people were produced almost exclusively by Pakeha or European New Zealanders. From the early 1970s, however, a major cultural shift known as the ‘Maori Renaissance’ created a context for the emergence of a Maori perspective in New Zealand filmmaking. Maori issues came under increasing scrutiny, partly as a consequence of the growth of domestic social movements based on Maori nationalism. While the national film industry tremendously flourished in the late 1990s and early 2000s, Maori filmmaking initiatives gradually expand in line with the intensified bicultural politics in New Zealand. In recent years, while New Zealand is quite rapidly transforming from a predominantly bicultural to a largely transcultural society, the New Zealand government has adopted a policy of multiculturalism besides the policy of biculturalism. Under the circumstance, both the New Zealand government and film industry have faced the challenge to articulate the newly emerging cultural realities into their film policies and to express the diverse cultural identities into their film productions.

Journal

  • 文化政策研究

    文化政策研究 4 23-42, 2010

    The Japan Association for Cultural Policy Research

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