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HAERENGA WAIRUA: SPIRIT(UAL) JOURNEYS IN TWENTY-FIRST-CENTURY MA? ORI CINEMA. (English)
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- Author(s): WALKER-MORRISON, DEBORAH
- Source:
Canadian Journal of Film Studies; 2020, Vol. 29 Issue 1, p122-144, 23p- Subject Terms:
- Source:
- Additional Information
- Abstract: This article examines how Māori cinema, as Indigenous Fourth Cinema, articulates Māori spirituality as a living, evolving set of beliefs and practices of particular relevance to the twenty-first century. After briefly describing key Māori spiritual terms and beliefs, I focus discussion on two recent first features, The Strength of Water (Armagan Ballantyne, 2009) and The Pā Boys (Himiona Grace, 2014). I read these films as emblematic of Indigenous film practice in strongly foregrounding different levels and experiences of spiritual transformation: via both literal travel and/or metaphorical, psychological journeys and after-death experiences or spirit journeys. I explore how both films engage with our spiritual storytelling and filmmaking traditions, and analyze ways in which spiritual experience is rendered cinematically, via sound and image, particularly by foregrounding links to land, water, and the natural environment as spiritual and often supernatural elements. While the latter are generally interpreted by non-Indigenous analysts as fantastical, within the established discourse of magic realism, I suggest rather that Indigenous representations cannot be adequately explained or contained by this term, and propose in its stead Indigenous spiritual realism. I conclude by arguing for the growing relevance of Native voices such as these, which speak an Indigenous spirituality rooted in the interconnectedness of all beings and all things, as a healing force in our battered and bruised, digitized, globalized planet. [ABSTRACT FROM AUTHOR]
- Abstract: Haerenga Wairua / Spiritual Journeys explore le cinéma maori en tant que 4e cinéma, dans son articulation de la spiritualité maorie comme un ensemble de croyances et de pratiques vivantes et d'une grande pertinence pour ce XXIe siècle. Après une brève description des termes et croyances clés, l'auteure analyse deux longs-métrages de fiction récents, The Strength of Water (Armagan Ballantyne, scr Briar Grace-Smith, NZ & Allemagne 2009) et The Pā Boys (Himiona Grace, NZ, 2014) comme emblématiques des pratiques cinématographiques autochtones, en ce qu'ils mettent fortement en avant différents niveaux et expériences de transformation spirituelle, via divers voyages au propre comme au figuré : voyages réels, voyages psychologiques ET expériences après la mort, donc voyages spirituels. Positionnant ces films dans le contexte des traditions spirituelles de narration littéraire et cinématographique, l'auteure explore les diverses techniques filmiques et cinématographiques mises en oeuvre pour rendre l'expérience spirituelle, via le son et l'image, en mettant en évidence les liens avec la Terre, l'Eau et l'environnement naturel en tant qu'éléments spirituels et souvent surnaturels. Alors que ces derniers sont généralement interprétés par les critiques et chercheurs allochtones comme étant de l'ordre du fantastique, dans le discours établi du réalisme magique, l'auteure avance plutôt que les représentations autochtones ne peuvent être ni expliquées ni contenues de manière adéquate par ce terme, et propose à sa place celui de «réalisme spirituel autochtone ». L'auteure conclut en soulignant la pertinence de voix autochtones comme celles-là, qui expriment une spiritualité enracinée dans l'interdépendance de tous êtres et de toutes choses : force de guérison dans notre planète meurtrie. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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